Časopis za jezik, književnost i kulturu

12/2019.

12/2019.

Časopis za jezik, književnost i kulturuFakultet za strane jezike Alfa BK univerziteta

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REČI

Časopis za jezik, književnost i kulturu Godina XI, br.12, 2019.

IZDAVAĈ

Alfa BK univerzitet u Beogradu

Fakultet za strane jezike

Palmira Toljatija 3, 11070 Novi Beograd

El. pošta uredništva: [email protected]

Tel. +381 11 26 90 039

ZA IZDAVAĈA

Dr Jozefina BEKE TRIVUNAC, redovna profesorka, rektor Alfa BK

univerziteta u Beogradu

GLAVNI I ODGOVORNI UREDNIK

Dr Artea PANAJOTOVIĆ, docentkinja Fakulteta za strane jezike Alfa BK


IZDAVAĈKI SAVET

Dr Jozefina BEKE TRIVUNAC, redovna profesorka, rektor Alfa BK

univerziteta u Beogradu, predsednica

Dr Maja ĆUK, vanredna profesorka, dekan Fakulteta za strane jezike Alfa BK


Dr Nemanja PAŢIN, vanredni profesor, prorektor za nauĉnoistraţivaĉki rad

Alfa BK univerziteta u Beogradu

Danica KARIĆ, ĉlanica Saveta Alfa BK univerziteta u Beogradu

mailto:[email protected]

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REDAKCIONI ODBOR

Dr Hanifa KAPIDŢIĆ-OSMANAGIĆ, redovna ĉlanica Akademije nauka i

umjetnosti Bosne i Hercegovine, redovna profesorka Filozofskog fakulteta u

Sarajevu (Bosna i Hercegovina)

dr Sibelan FORESTER, redovna profesorka na Svartmor koledţu, Pensilvanija

(SAD )

dr Dţejn METISON EKSTAM, redovna profesorka Univerziteta u Estfoldu

(Norveška)

dr Branko TOŠOVIĆ, redovni profesor Univerziteta u Gracu (Austrija)

dr Maja ĆUK, vanredna profesorka, dekan Fakulteta za strane jezike Alfa BK


dr Violeta JURKOVIĆ, vanredna profesorka Univerziteta u Ljubljani

(Slovenija)

dr Magdalena KOH, vanredna profesorka Univerziteta Adam Mickjeviĉ u

Poznanju (Poljska)

dr Marija KRIVOKAPIĆ, vanredna profesorka Filozofskog fakulteta u Nikšiću

(Crna Gora)

dr Melina NIKOLIĆ, vanredna profesorka Fakulteta za strane jezike Alfa BK


dr Kartika ŠAŠIKUMAR, vanredna profesorka Drţavnog univerziteta u San

Hoseu (SAD)

dr Svetlana TOMIĆ, vanredna profesorka Fakulteta za strane jezike Alfa BK


dr Andrijana ĐORDAN, docentkinja Fakulteta za strane jezike Alfa BK


dr Tijana PAREZANOVIĆ, docentkinja Fakulteta za strane jezike Alfa BK


RECENZENTI

Dr Biljana ĈUBROVIĆ, redovna profesorka Filološkog fakulteta Univerziteta u

Beogradu

Dr Jovanka DENKOVA, redovna profesorka Filološkog fakulteta Univerziteta

„Goce Delĉev“ u Štipu (Makedonija)

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Dr Milorad JEVRIĆ, redovni profesor u penziji

Dr Zoran PAUNOVIĆ, redovni profesor Filološkog fakulteta Univerziteta u

Beogradu

Dr Rada STIJOVIĆ, nauĉni savetnik, Institut za srpski jezik SANU

Dr Nada TODOROV, redovna profesorka u penziji

Dr Sofija CHRISTENSEN, vanredna profesorka Univerziteta u Stavangeru

(Norveška)

Dr Maja ĆUK, vanredna profesorka Fakulteta za strane jezike Alfa BK


Dr Marko LUKIĆ, vanredni profesor Univerziteta u Zadru (Hrvatska)

Dr Ĉaslav NIKOLIĆ, vanredni profesor Filološko-umetniĉkog fakulteta

Univerziteta u Kragujevcu

Dr Melina NIKOLIĆ, vanredna profesorka Fakulteta za strane jezike Alfa BK


Dr Svetlana TOMIĆ, vanredna profesorka Fakulteta za strane jezike Alfa BK


Dr Andrej BJELAKOVIĆ, docent Filološkog fakulteta Univerziteta u Beogradu

Dr Valentina BUDINĈIĆ, docentkinja Fakulteta za strane jezike Alfa BK


Dr Boško KNEŢIĆ, docent Univerziteta u Zadru (Hrvatska)

Dr Zorica KOVAĈEVIĆ, docentkinja Filološkog fakulteta Univerziteta u

Beogradu

Dr Tijana PAREZANOVIĆ, docentkinja Fakulteta za strane jezike Alfa BK


Dr Adrijana VIDIĆ, docentkinja Univerziteta u Zadru (Hrvatska)

Dr Aleksandra VUKOTIĆ, docentkinja Filološkog fakulteta Univerziteta u

Beogradu

Dr Milica VITAZ, viši lektor Filološkog fakulteta Univerziteta u Beogradu

Msr Dušan STEFANOVIĆ, lektor Filozofskog fakulteta Univerziteta u Prištini,

Kosovska Mitrovica

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JEZIĈKA REDAKCIJA

Artea PANAJOTOVIĆ, Fakultet za strane jezike Alfa BK univerziteta u

Beogradu

Boţana SOLUJIĆ, Fakultet za strane jezike Alfa BK univerziteta u Beogradu

PRELOM TEKSTA

Vladimir ŠAŠO

DIZAJN KORICA

Jelena KOŠTICA

ŠTAMPA „Apollo Graphic Production d.o.o.“ Beograd

Tiraţ: 300 primeraka

Cena: 450 dinara

Godišnje

ISSN 1821-0686

COBISS.SR-ID 155512076

Internet adresa URL baze podataka u kojoj su ĉlanci dostupni u vidu punog

teksta:

https://www.reci.rs

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REČI

Journal of Language, Literature and Culture

Year XI, No. 12, 2019

PUBLISHER

Alfa BK University in Belgrade

Faculty of Foreign Languages

Palmira Toljatija 3, 11070 Novi Beograd

Editorial e-mail address: reci@аlfa.edu.rs

Phone +381 11 26 90 039

FOR THE PUBLISHER

Jozefina BEKE TRIVUNAC, PhD, Full Professor, Rector of Alfa BK

University in Belgrade

EDITOR-IN-CHIEF

Artea PANAJOTOVIĆ, PhD, Assistant Professor at Faculty of Foreign

Languages, Alfa BK University in Belgrade

PUBLISHING COUNCIL

Jozefina BEKE TRIVUNAC, PhD, Full Professor, Rector of Alfa BK

University in Belgrade, Chair

Maja ĆUK, PhD, Associate Professor, Dean of Faculty of Foreign Languages,


Nemanja PAŢIN, PhD, Associate Professor, Vice Rector for Research of Alfa

BK University in Belgrade

Danica KARIĆ, Member of Alfa BK University Council

mailto:reci@аlfa.edu.rs

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EDITORIAL BOARD

Hanifa KAPIDŢIĆ-OSMANAGIĆ, PhD, Full member of the Academy of

Sciences and Arts of Bosnia and Herzegovina, Professor at Faculty of

Philosophy in Sarajevo (Bosnia and Herzegovina)

Sibelan FORRESTER, PhD, Professor at Swarthmore College, Pennsylvania

(USA)

Jane MATTISSON EKSTAM, PhD, Professor at Østfold University College

(Norway)

Branko TOŠOVIĆ, PhD, Professor at University of Graz (Austria)

Maja ĆUK, PhD, Associate Professor at Faculty of Foreign Languages, Alfa


Magdalena KOCH, PhD, Associate Professor at Adam Mickiewicz University

in Poznań (Poland)

Violeta JURKOVIĆ, PhD, Associate Professor at University of Ljubljana

(Slovenia)

Marija KRIVOKAPIĆ, PhD, Associate Professor at Faculty of Philosophy in

Nikšić (Montenegro)

Melina NIKOLIĆ, PhD, Associate Professor at Faculty of Foreign Languages,


Karthika SASIKUMAR, PhD, Associate Professor at San Jose State University

(USA)

Svetlana TOMIĆ, PhD, Associate Professor at Faculty of Foreign Languages,


Andrijana ĐORDAN, PhD, Assistant Professor at Faculty of Foreign


Tijana PAREZANOVIĆ, PhD, Assistant Professor at Faculty of Foreign


REVIEWERS

Biljana ĈUBROVIĆ, PhD, Professor at Faculty of Philology, University of

Belgrade

Jovanka DENKOVA, PhD, Professor at Faculty of Philology, Goce Delĉev

University in Shtip (Macedonia)

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Milorad JEVRIĆ, Professor in retirement

Zoran PAUNOVIĆ, PhD, Professor at Faculty of Philology, University of

Belgrade

Rada STIJOVIĆ, PhD, Principal Research Fellow, SASA Institute for the

Serbian Language

Nada TODOROV, PhD, Professor in retirement

Sofija CHRISTENSEN, PhD, Associate Professor at University of Stavanger

(Norway)

Maja ĆUK, PhD, Associate Professor at Faculty of Foreign Languages, Alfa


Marko LUKIĆ, Associate Professor at University of Zadar (Croatia)

Ĉaslav NIKOLIĆ, PhD, Associate Professor at Faculty of Philology and Arts,

University of Kragujevac

Melina NIKOLIĆ, PhD, Associate Professor at Faculty of Foreign Languages,


Svetlana TOMIĆ, PhD, Associate Professor at Faculty of Foreign Languages,


Andrej BJELAKOVIĆ, PhD, Assistant Professor at Faculty of Philology,

University of Belgrade

Valentina BUDINĈIĆ, PhD, Assistant Professor at Faculty of Foreign


Boško KNEŢIĆ, PhD, Assistant Professor at University of Zadar (Croatia)

Zorica KOVAĈEVIĆ, PhD, Assistant Professor at Faculty of Philology,


Tijana PAREZANOVIĆ, PhD, Assistant Professor at Faculty of Foreign


Adrijana VIDIĆ, Assistant Professor at University of Zadar (Croatia)

Aleksandra VUKOTIĆ, PhD, Assistant Professor at Faculty of Philology,


Milica VITAZ, PhD, senior lecturer at Faculty of Philology, University of

Belgrade

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Dušan STEFANOVIĆ, MA, Lecturer at Faculty of Philosophy, University of

Priština, Kosovska Mitrovica

LANGUAGE EDITING

Artea PANAJOTOVIĆ, Faculty of Foreign Languages, Alfa BK University in

Belgrade

Boţana SOLUJIĆ, Faculty of Foreign Languages, Alfa BK University in

Belgrade

TYPESETTING

Vladimir ŠAŠO

COVER DESIGN

Jelena KOŠTICA

PRINT „Apollo Graphic Production d.o.o.“ Belgrade

Print run: 300 copies

Price: 450 RSD

Published annually

ISSN 1821-0686


URL database for full text: https://www.reci.rs

https://www.reci.rs/

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SADRŢAJ / CONTENTS

STUDIJE I ĈLANCI / STUDIES AND ARTICLES

Aleksandar M. Ţivanović

Onset Clusters in English and Serbian ………11

Tamara M. Jevrić

A Corpus Study of Derivational Morphology ‒ Prefixes un- and

non- in the BNC ………26

Ţarko B. Veljković

„Sklavko“ ili Slavoĉ, Uţica ili Uţice? ………39

Tanja S. Cvetković i Branko D. Gorgiev

Analiza motivacije studenata prilikom izbora stranog jezika na

nematiĉnim departmanima ………54

Zlatko Bukaĉ

Hypermasculinity and Infantilization of Black Superheroes:

Analysis of Luke Cage and Rage Origin Stories ………69

Marija S. Mišić

DeLilov Bodi artist, smrt ega – roĊenje umetnosti ………82

AnĊelka M. Gemović

From Captivity to Bestiality: Feminist Subversion of Fairy-Tale

Female Characters in Angela Carter’s “The Tiger’s Bride” ………100

Ruţica S. Radulović

From Northern Exotism to Condemnation to Heaven: Cultural

Translation and Literary Representation of the Scandinavian

Countries in the Local Serbian Context ………117

Luigi E. Beneduci e Marija N. Vujović

“Gl’infiniti pensier mie d’error pieni” – Peculiarità petrarchiste

nelle “Rime” di Michelangelo ……….151

Svetlana E. Tomić

Sahranjena u fusnotama. Dr Vukosava Milojević (1898–1985),

pisac prve temeljne nauĉne monografije o Jovanu Skerliću:

istraţivaĉka beleška ……….186

Milena M. Sretić i Neda Z. Nikolić

Uticaj društveno-politiĉke realnosti u prozi Dragoslava

Mihailovića ……….198

Sofija S. Kalezić-Đuriĉković

Stvaralaštvo savremenih crnogorskih pjesnika za djecu ……….207

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PRIKAZI / REVIEWS

Kjell B. Magnusson

Peter Handke and Serbia ………222

Kristina N. Topić

Janusov kljuĉ: Zoran Panevski: Sara i januar za dve devojčice

(Beograd: Laguna, 2018) ………226

IN MEMORIAM

Ţeljko Ivanković

Prof. dr Hanifa Kapidţić-Osmanagić (30. XI 1935 – 21. X 2019),

ĉlanica Uredništva ĉasopisa Reči ………230

Uputstvo za pripremu rukopisa ………235

Instructions for paper submission ………240

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11

STUDIJE I ĈLANCI

ORIGINALNI NAUĈNI RAD

DOI: 10.5937/reci1912011Z

UDC: 811.163.41'342.42

811.111'342.42

Aleksandar M. Ţivanović*

University of Novi Sad

Faculty of Philosophy

ONSET CLUSTERS IN ENGLISH AND SERBIAN

Abstract: The aim of this paper is to provide a comparison of onset

clusters in English and Serbian within the theoretical framework that

employs the concept of sonority. According to the Sonority Sequencing

Principle (Kiparsky, 1979; Selkirk, 1984; Clements, 1990), consonant

sequences can be divided into core clusters, sonority reversals and

sonority plateaus. In order to divide onset clusters into these three groups,

we used the principles referring to possible consonant clusters provided in

Roach (2009) and the classification of consonant clusters in Petrović &

Gudurić (2010). The classification shows that the majority of sequences

in English and Serbian represent core clusters. All three types of clusters

are more numerous in Serbian. Dispersion of demisyllables in the two

* [email protected]

The paper is based on the author‟s master‟s thesis. The research was partially supported by the

Ministry of Education, Science and Technological Development of the Republic of Serbia within

the project Development of Dialogue Systems for Serbian and Other South Slavic Languages

(TR32035).

A L E K S A N D A R M . Ž I V A N O V I Ć

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12

languages was calculated with the aim of determining their complexity.

Complexity ranking indicates that more complex structures tend to occur

less frequently in both languages. On the other hand, the simpler

demisyllables can be found in a larger number of words.

Key words: onset clusters, English, Serbian, sonority, demisyllables.

INTRODUCTION

Consonant clusters have received considerable attention in the phonological

literature and sonority has played an important role in the analysis of the syllable

structure. While there are many research studies dealing with consonant clusters in

English, these sequences have not been investigated thoroughly in Serbian.

Furthermore, comparative studies between consonant clusters in two languages seem to

be quite rare. The aim of this paper is to explore initial two-member consonant

sequences in English and Serbian within the theoretical framework centred around the

concept of sonority and thus provide a clearer picture of similarities and differences

between onset clusters in these two languages.

According to Lass (1991), a syllable is a phonological unit which consists of an

onset (O) and the rhyme (R). The rhyme includes a peak (P) (which is also called

nucleus (N)) and a coda (Co). The only obligatory part of the syllable is the peak (e.g.

ah). A syllable is represented as a branching tree:

(1) σ

O R

P(N) Co

The position of the peak is occupied by a vowel, while consonant segments

constitute the onset and the coda. The number of consonants in the onset in English and

Serbian varies from 0 to 3. Nevertheless, this paper is concerned with two-member

onset clusters only (since this is the optimal number of segments in a consonant cluster

in Serbian (Petrović & Gudurić, 2010, p. 401)). The prototypical syllable contains a

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13 ONSET CLUSTERS IN ENGLISH AND SERBIAN

vowel as the most sonorous segment, while sonority of the segments in the onset should

rise steadily. As we shall see, this is not always the case.

The rest of the paper is organized in the following way: first, we explain the

notion of sonority and present the sonority scales, after which we provide a comparison

of onset clusters in English and Serbian. In the second part of the analysis, we deal with

the Dispersion Principle by placing emphasis on the notion of demisyllable. Even

though the demisyllable includes a vowel apart from the consonant cluster, it enables an

important classification of initial sequences according to a degree of their complexity.

The final section contains summary of the most important results obtained in the paper.

SONORITY

DEFINITIONS OF SONORITY

Sonority is an important factor which influences the structure of the syllable.

Different sounds possess different sonority values according to which they can be

ranked on the sonority scale. The notion of sonority can be treated as a phonetic

property, as well as a phonological feature.

According to Ladefoged (1982, 1993) sonority represents perceptual salience or

loudness of a sound, whereas Goldsmith (1995) claims that sonority should be defined

as the amount of airflow in the resonance chamber. Škarić (1991) suggests that sonority

does not depend on the sound itself but stems from physical properties of the speech

organs. For instance, increased tension of the larynx, a larger size of the oral cavity and

a greater degree of its openness will result in higher sonority values. On the other hand,

sonority can be defined as a phonological primitive in the form of a multi-valued feature

(Selkirk, 1984). Clements (1990) argues that sonority is derived from more basic binary

features of phonological theory (syllabic, vocoid, sonorant), including one additional

feature – approximant.

Despite a large number of definitions of sonority and disagreements between the

authors, the Sonority Sequencing Principle is generally accepted in the phonological

literature (Kiparsky, 1979; Selkirk, 1984; Clements, 1990). It can be stated in the

following way (Clements, 1990, p. 285):

(2) The Sonority Sequencing Principle


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14

Between any member of a syllable and the syllable peak, only sounds of higher sonority

rank are permitted.

SONORITY SCALES

According to Parker (2002, p. 62), the most frequently cited sonority scale in the

literature is probably the one provided in Clements (1990):

(3) The sonority scale

V(owels) > G(lides) > L(iquids) > N(asals) > O(bstruents)

The authors disagree on whether sonority scales vary from one language to

another (Steriade, 1982) or whether the sonority scale is universal (Selkirk, 1984;

Clements, 1990). Sonority scales which have fixed universal values usually refer to the

major natural classes of sounds (as in (3)), and finer distinctions between segments are

drawn by using sonority-independent parameters, such as voicing, coronality, etc.

(Morelli, 1999, p. 5). The idea that we pursue is that the sonority scale is universal.

The sonority hierarchy employed in this paper is based on the one which Babić

(1988) created for Croatian. In Ţivanović (2019), we used a somewhat different sonority

scale: /j/ and /v/ were classified as semivowels. As suggested by Subotić et al. (2012, p.

50), the surrounding phonetic context determines whether /j/ is going to be realized as a

vowel, semivowel, spirant1 or it is not going to be realized at all. The authors suggest

that /j/ is realized as a spirant in the initial position and after the consonant. Since /j/

occurring in the examples analyzed in this paper represents the second segment of a

consonant cluster, in the sonority hierarchy provided below it is classified as a fricative.

Serbian /v/ is traditionally classified as a sonorant, for the following reasons: it

does not undergo voicing assimilation, as opposed to voiced obstruents: lov + ca →

lovca; iz + tupiti → istupiti; its position is usually the same as that of sonorants since it

is preceded by obstruents in initial consonant clusters, e.g. tvoj, dva, kvar; it is

characterized by approximant articulation and its acoustic characteristics include low

energy output and barely visible friction (if it is present at all) (Marković & Jakovljević,

2012, p. 16). The spectrograms analyzed by Gudurić & Petrović (2006, p. 337) indicate

1 The term „spirant‟ is usually used interchangeably with the term „fricative‟.

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that /v/ can be realized as a sonorant, as a semivowel or as a voiced fricative.

Nevertheless, even in the contexts in which it is realized as a sonorant or semivowel, its

sonority before a voiceless consonant decreases in the same way as that of the fricative;

according to the authors, this is an argument for classifying /v/ into the group of

fricatives. Subotić et al. (2012) also treat /v/ as a fricative and this is the position taken

in this paper as well.

The sonority scale is given in Table 1; vowels, as the most sonorous segments,

occur on the left and plosives, as the least sonorous, on the right.

Table 1. The sonority scale, based on Babić (1988)

V(owels) L(iquids) N(asals) F(ricatives) A(ffricates) P(losives)

a

e o

i u

r

l lj

m n nj j v z ţ

h f s š

Ċ dţ

c ĉ ć

b d g

p t k

The same sonority hierarchy was used for classifying English consonant sequences.

However, we added the group of semivowels to this scale since they do occur in English

consonant clusters; semivowels represent the second most sonorous group of sounds.

(4) The sonority scale for English

Vowels > S(emivowels) > Liquids > Nasals > Fricatives > Affricates > Plosives

The sonority scales enable classifying consonant clusters into three types based

on the Sonority Sequencing Principle – core clusters, sonority reversals and sonority

plateaus. Core clusters are the best formed clusters according to the Sonority

Sequencing Principle. Their sonority decreases towards the syllable margin. In sonority

reversals, the most sonorous segments occur closer to the syllable margin than to the

syllable peak. Sonority plateaus consist of the members which have the same sonority

values.


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16

THE CLASSIFICATION OF ONSET CLUSTERS

In order to provide an appropriate typology of onset clusters in English, we used

the principles referring to possible onset clusters provided in Roach (2009). Serbian

onset clusters were classified based on the set of possible consonant sequences collected

by Petrović & Gudurić (2010). The classification of initial two-member consonant

sequences in English is given in Table 2.

Table 2. Onset clusters in English

Core clusters Sonority reversals Sonority plateaus

P + L (pray, blue) F + P (spit, skin) F + F (sphere)

P + S (cue, twist)

F + N (smile, snow)

F + L (fly, through)

F + S (swim, hue)

N + S (muse, news)

L + S (lewd)

As expected, the largest number of clusters are core clusters. Within this group,

plosives, fricatives, nasals and liquids can be combined with semivowels. Fricatives

represent the most frequent first members of English core clusters (they are also the

most frequently occurring group of sounds in general, since they can be found in all

groups of clusters in both languages). A sequence which includes neither semivowels

nor fricatives is the one containing a plosive and liquid.

Affricates do not occur in two-member clusters in English. On the other hand,

they seem to be much more productive in Serbian. As initial segments, affricates can be

combined with fricatives, nasals and liquids to form a two-member core cluster; there is

also one sonority reversal (affricate + plosive). Affricates are possible second members

of plosive + affricate sequences (core clusters) and fricative + affricate clusters

(sonority reversals). The status of affricates within the literature is still controversial.

Linn (2011) presents three approaches: 1) the Stop Approach (Kehrein, 2002),

according to which affricates are analyzed as „strident stops‟; 2) the Affricate Approach,

according to which affricates form a separate class and are characterized by the feature

[+delayed release] (Chomsky & Halle, 1968); 3) the Complex Segment Approach

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(Lombardi, 1990), according to which affricates share the feature [-cont] with stops and

the feature [+cont] with fricatives. For this reason, there is a possibility that sequences

such as /pĉ/ and /kć/ cannot be treated as core clusters, as they are in our analysis, if one

defines affricates as complex segments consisting of stops and fricatives.

As regards sonority reversals and sonority plateaus, there is only one possible

combination for each group – fricative + plosive and fricative + fricative. The only

fricative that can be found in these sequences is /s/. In Serbian, the fricatives /s/, /z/, /š/

and /ţ/ are possible initial members of sonority reversals. The number of fricatives at

the beginning of sonority plateaus is even greater.

Table 3. Onset clusters in Serbian

Core clusters Sonority reversals Sonority plateaus

P + A (pĉela, kći) F + P (škola, zbor) P + P (gde, tkati)

P + F (psovati, gvoţĊe) F + A (šćućuriti se, šĉepati) F + F (shodno, zvezda)

P + N (kmet, gnjida) A + P (ĉtec) N + N (mnogo, mnjenje)

P + L (pljaĉka, brak) N + F (mjaukati)

A + F (ĉvor, cvet)

A + N (ĉmiĉak, cmizdriti)

A + L (ĉlan, crep)

F + N (znak, ţmuriti)

F + L (sram, vlaga)

N + L (mrak, mlak)

As the classification shows, Serbian contains a larger number of possible onset

clusters. The majority of them adhere to the Sonority Sequencing Principle. However,

some of the segments, such as the fricative /j/, are present in only few examples. On the

other hand, /j/ is a very frequent second member of clusters in the ijekavian varieties of

Serbian, e.g. pjesma, tjerati, djeca, sjesti, mjera, vjera. Apart from the above-mentioned

distinction concerning the occurrence of affricates, we should also mention that Serbian

contains a higher number of onset clusters containing plosives (7) than English does (3).

There are four types of sonority reversals – fricative + plosive, fricative +

affricate, affricate + plosive and nasal + fricative. As concerns sonority plateaus, plosive


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18

+ plosive sequences are documented in several examples: bdeti, gde, ptica, tkati, ktitor.

Fricative + fricative clusters are more numerous primarily due to a large number of

combinations including /v/: zvati, zvezda, ţvaka, ţvakati, hvala, hvatati, svako, svet,

švalja, švargla, etc. Nasal + nasal sequences are well-formed only if the first member is

/m/ (/m/ is also the only possible nasal to begin nasal + liquid and nasal + fricative

sequences and it is the only nasal that can occur as the second member of affricate +

nasal sequences; when preceded by a plosive or fricative, any nasal can be the second

segment of a core cluster).

THE DISPERSION PRINCIPLE

Clements (1990) proposes the principle of The Sonority Cycle, which comprises

principles of Core Syllabification and Feature Dispersion. Within syllables, sonority

tends to rise and fall. A sonority cycle is the term which Clements uses to name this

increase and decrease. In order for a syllable to be created, three steps need to be

performed. The first implies seeking [+syllabic] segments and introducing a syllable

node over them. Further actions include joining unsyllabified segments to the left of a

syllabified segment and then to its right side. These segments should contain lower

sonority values than the segment to which they are added. These are the steps which

yield the principle which Clements names the Core Syllabification Principle (CSP).

However, not all strings of segments adhere to the CSP. The author introduces the

Dispersion Principle with the aim of ranking syllable types according to the degree of

their complexity, i.e. how much they differ from the prototypical syllable (the

„unmarked‟ syllable (Clements, 1990, p. 302)).

The Dispersion Principle can be defined by using the notion demisyllable. The

idea is that each syllable consists of two overlapping parts – two demisyllables. The

term refers to the part of the syllable which ends or begins with a vowel. Initial syllable

ends with a vowel, while final demisyllable begins with this segment: lenj → le + enj;

mrav → mra + av; ar → a + ar; big → bi + ig; space → spa + ace; it → i + it. Clements

(1990, p. 303) defines the demisyllable formally in the following way:

(5) A demisyllable is a maximal sequence of tautosyllabic segments of the form

Cm…CnV or VCm…Cn, where n ≥ m ≥ 0.

As the author explains, the first part of the syllable does not depend on the

second part regarding their sonority values, and vice versa – this is the reason why the

2 0 1 9


notion of demisyllable is appropriate for defining dispersion in sonority, D. D can be

calculated by the following equation (Clements, 1990, p. 304):

∑

Figure 1. Dispersion in sonority

d – the distance in sonority between each pair of segments (including

nonadjacent pairs)

m – the number of pairs of segments, equal to n (n - 1)/2

n – the number of segments

The distance in sonority, marked with a d, refers to the distance between the members

on the sonority scale. In the scale V > G > L > N > O, the distance between the

obstruent and the liquid is 2 and stays the same regardless of the order of these two

elements.

The Dispersion Principle can be stated in the following way (Clements, 1990, p.

304):

(6) The Dispersion Principle

(a) The preferred initial demisyllable minimizes D.

(b) The preferred final demisyllable maximizes D.

We calculated dispersion in sonority for initial demisyllables in English and

Serbian and classified them according to four categories: 1) demisyllable, which

specifies the structure of the demisyllable;2 2) D, which reports the measure of

2 As noted by Parker (2002, p. 22), the Dispersion Principle treats sonority reversals (e.g. the

onset in the syllable /rta/) and core clusters (e.g. the onset in the syllable /tra/) in the same way –

since the formula for D squares sonority distances, it reduces the effect of a negative slope.

Therefore, the two structures have the same dispersion values, which is not the optimal result

since it implies that they are both equally well-formed. For this reason, in this section we deal

only with core clusters. Clements (1990, p. 311) is aware of this problem and suggests that the

Complexity Metric should be extended to cover all types of consonant clusters.


2 0 1 9

20

dispersion in sonority; 3) C, which states the complexity ranking of a demisyllable, i.e.

how marked it is.3 To calculate D, we used the sonority scales in Table 1 and (4). For

convenience, the scales with the assigned rank for each group of sounds are repeated

below.

(7) The sonority scale for English

plosives 1 < affricates 2 < fricatives 3 < nasals 4 < liquids 5 < semivowels 6 <

vowels 7

Table 4. Initial demisyllables in English

Demisyllable D C

P + L + V (pray) 0.34 1

F + L + V (fly) 0.56 2

P + S + V (cue) 1.07 3

F + N + V (snow), F + S + V (hue) 1.17 4

N + S + V (news) 1.36 5

L + S + V (lewd) 2.25 6

The best initial demisyllable in English is the one with the lowest D value (0.34)

consisting of a plosive, liquid and vowel. The smallest distance between its members is

2, while the largest distance is 6. Its complexity ranking is 1. The demisyllable which is

ranked the highest, and thus represents the most complex type, is liquid + semivowel +

vowel (D = 2.25). The rise in sonority is not that abrupt, as required by the initial

demisyllable, since the smallest distance between the members is 1 and the largest only

2. Therefore, it has been assigned the highest complexity ranking – 6.

3 “The complexity ranking, C, of an initial demisyllable increases as its ranking in terms of D

increases” (Clements, 1990, p. 305). Therefore, the demisyllable with the lowest value for D is

the most preferred sequence and is assigned the lowest complexity rank – 1, the demisyllable with

the second lowest value – 2, and so on.

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The classification of initial demisyllables in Serbian is provided in Table 5. It was

made based on the sonority hierarchy in (8).

(8) The sonority scale for Serbian

plosives 1 < affricates 2 < fricatives 3 < nasals 4 < liquids 5 < vowels 6

Table 5. Initial demisyllables in Serbian

Demisyllable D C

P + F + V (gvoţĊe), P + N + V (kmet) 0.40 1

A + N + V (cmizdriti) 0.56 2

P + A + V (pĉela), P + L + V (brak) 1.10 3

A + F + V (cvet), A + L + V (ĉlan) 1.17 4

F + N + V (znak), F + L + V (vlaga) 1.36 5

N + L + V (mlak) 2.25 6

The most preferred initial demisyllables in Serbian are plosive + fricative + vowel

and plosive + nasal + vowel sequences (D = 0.40). The most complex demisyllable

consists of a nasal, liquid and vowel (D = 2.25). As in the classification of English

demisyllables, this is the structure which contains members of the highest groups of

sounds in the sonority hierarchy. Although Serbian includes a higher number of possible

demisyllables, in both languages there are six complexity ranks.

What the notion of markedness implies is that structures which are more marked

will occur less frequently in a language as opposed to those that are less marked. The

most marked demisyllable in English supports this claim since /lju:/ seems to be quite a

rare sequence, used by a limited number of speakers of English (/j/ is an optional

segment in the sequence). The most marked demisyllable in Serbian is not frequent in

this language either since /m/ is the only nasal allowed as the first segment. The

distribution of the most unmarked demisyllables in English (P + L + V) and Serbian (P

+ N + V) speaks in favour of this idea as well since there are many such combinations:

play, pray, cry, clay, brave, blouse; tmina, kmet, knez, knjiga, dno, Dmitar, etc.

Nevertheless, there are examples whose structure cannot be explained in this way. For

instance, the plosive + fricative + vowel sequence, which occurs in Serbian, also has the


2 0 1 9

22

lowest complexity ranking, but cannot be found in a large number of possible

combinations. The reason for this may be related to place features, i.e. even though the

sequence is unmarked with respect to sonority dispersion, it may be marked along some

other dimension (and vice versa).

CONCLUSION

The classification of English and Serbian onset clusters into core clusters,

sonority reversals and sonority plateaus shows that both languages possess a large

number of the best consonant sequences according to the Sonority Sequencing

Principle, with Serbian having more. The reason for this is probably that Serbian allows

more flexibility concerning combining consonant sounds at the beginning of the

syllable. The most striking differences regarding core clusters involve the distribution of

affricates and plosives. Namely, affricates do not occur in English onset clusters, neither

as first nor as second members, whereas Serbian makes use of these segments in both

positions to form four types of core clusters. Plosives do occur in English consonant

clusters, but Serbian allows a higher number of these segments. Sonority reversals and

sonority plateaus are more numerous in Serbian. Fricatives constitute a productive

group of sounds in both languages since they occur in all three types of consonant

clusters. As concerns the demisyllables‟ complexity, both English and Serbian have six

complexity ranks. Less complex demisyllables tend to have a higher frequency of

occurrence, while more complex structures are characterized by a lower frequency.

Sonority is a property of great importance for the analysis of the syllable

structure. However, it is not the only criterion which should be taken into account. The

contrastive analysis presented here should be used as a starting point for further analysis

of onset clusters and the syllable structure in English and Serbian.

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REFERENCES

Babić, Z. (1988). Slogovna struktura hrvatskoga knjiţevnoga jezika. Jezik, 36 (3), 65–

71.

Chomsky, N. & Halle, M. (1968). The Sound Pattern of English. New York: Harper and

Row.

Clements, G. N. (1990). The Role of the Sonority Cycle in Core Syllabification. In:

Kingston, J. & M. Beckman (eds.), Papers in Laboratory Phonology 1 (283–333).

Cambridge: Cambridge University Press.

Goldsmith, J. (1995). The Handbook of Phonological Theory. Oxford: Blackwell

Publishers.

Gudurić, S. & Petrović, D. (2006). O prirodi i statusu foneme [v] u srpskom jeziku.

Zbornik radova Filozofskog fakulteta u Kosovskoj Mitrovici XXXVI, 321–340.

Kehrein, W. (2002). Phonological Representation and Phonetic Phasing: Affricates and

Laryngeals. Tübingen: Niemeyer.

Kiparsky, P. (1979). Metrical Structure Assignment is Cyclic. Linguistic Inquiry, 10 (3),

421–441.

Ladefoged, P. (1982). A Course in Phonetics. New York: HBJ.

Ladefoged, P. (1993). A Course in Phonetics. New York: HBJ.

Lass, R. (1991). Phonology: An Introduction to Basic Concepts. Cambridge: Cambridge

University Press.

Linn, Y. H. (2011). Affricates. In: Van Oostendorp, M., C.J. Ewen, E. Hume & K. Rice

(eds.), The Blackwell Companion to Phonology, vol. I (367–390). London: Wiley-

Blackwell.

Lombardi, L. (1990). The Nonlinear Organization of the Affricate. Natural Language &

Linguistic Theory, vol. VIII, 375–425.

Marković, M., & Jakovljević, B. (2012). Some Controversies about /v/ in Serbian,

Transfer in English and Other Related Issues. In: Paunović, T. & B. Ĉubrović (eds.),

Exploring English Phonetics (13–30). Newcastle upon Tyne: Cambridge Scholars

Publishing.

Morelli, F. (1999). The Phonotactics and Phonology of Obstruent Clusters in

Optimality Theory (Doctoral dissertation). College Park: University of Maryland.


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24

Parker, S. G. (2002). Quantifying the Sonority Hierarchy (Doctoral dissertation).

Amherst: University of Massachusetts.

Petrović, D., & Gudurić, S. (2010). Fonologija srpskoga jezika. Beograd: Institut za

Srpski Jezik SANU.

Roach, P. (2009). English Phonetics and Phonology: A Practical Course. 4th

edition.

Cambridge: Cambridge University Press.

Selkirk, E. (1984). On the Major Class Features and Syllable Theory. In: Aronoff, M. &

R. T. Oehrle (eds.), Language Sound Structure (107–136). Cambridge, Massachusetts:

MIT Press.

Steriade, D. (1982). Greek Prosodies and the Nature of Syllabification (Doctoral

dissertation). Cambridge: Massachusetts Institute of Technology.

Subotić, Lj., Sredojević, D., & Bjelaković, I. (2012). Fonetika i fonologija: ortoepska i

ortografska norma standardnog srpskog jezika. Novi Sad: Filozofski fakultet.

Škarić, I. (1991). Fonetika hrvatskoga knjiţevnog jezika. U: Babić, S. i dr. (ur.),

Povijesni pregled, glasovi i oblici hrvatskoga knjiţevnog jezika (61–378). Zagreb:

HAZU i Globus.

Ţivanović, A. (2019). A Comparison of Coda Clusters in English and Serbian. U:

Gudurić, S. & B. Radić Bojanić (ur.), Jezici i kulture u vremenu i prostoru VIII/1.

Tematski zbornik (197–208). Novi Sad: Filozofski fakultet.

2 0 1 9


ALEKSANDAR M. ŢIVANOVIĆ

KONSONANTSKI NIZOVI U NASTUPU U ENGLESKOM I SRPSKOM

Rezime: Cilj ovog rada jeste poreĊenje konsonantskih nizova u nastupu u engleskom i

srpskom pomoću teorijskog okvira koji koristi pojam sonornosti. Prema Principu sleda

sonornosti (Kiparsky, 1979; Selkirk, 1984; Clements, 1990), konsonantski nizovi mogu

se klasifikovati u tri grupe – osnovne nizove, nizove obrnute sonornosti i nizove

jednake sonornosti. Osnovni nizovi predstavljaju najbolji tip nizova jer u njima

sonornost opada prema margini sloga. U nizovima obrnute sonornosti sonornost raste,

dok u nizovima jednake sonornosti oba segmenta imaju iste vrednosti. Klasifikacija

poĉetnih nizova u engleskom i srpskom pokazuje da srpski poseduje veći broj mogućih

nizova u sve tri grupe. Najveći broj kombinacija u oba jezika predstavlja osnovne

nizove. Afrikate su produktivniji segmenti u srpskom, pošto se javljaju u pet mogućih

konsonantskih grupa, dok u engleskom ne postoji nijedna mogućnost. TakoĊe, plozivi

su zastupljeniji u srpskom nego u engleskom. Frikativi predstavljaju najĉešću grupu

glasova; ovi segmenti mogu se naći u sve tri grupe nizova u oba jezika. Disperzija

sonornosti korišćena je sa ciljem odreĊivanja kompleksnosti poluslogova. Rang

kompleksnosti ukazuje na tendenciju sloţenijih struktura da se u jeziku pojavljuju reĊe,

dok se jednostavnije strukture mogu naći u većem broju reĉi.

Kljuĉne reĉi: konsonantski nizovi, nastup, engleski, srpski, sonornost, poluslogovi.

Datum prijema: 2.9.2019.

Datum ispravki: 20.11.2019.

Datum odobrenja: 22.11.2019.

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26


DOI: 10.5937/reci1912026J

UDC: 811.111'366´367.63

Tamara M. Jevrić*

University of Priština, Kosovska Mitrovica


A CORPUS STUDY OF DERIVATIONAL MORPHOLOGY ‒

PREFIXES UN- AND NON- IN THE BNC

Abstract: Corpora as a tool for studying morphology has been mainly

used to examine morphological productivity, since English is rich in

derivational morphology. Corpora can also be used to study the

relationship between collocations and affixes which constitute them. The

aim of this research is to establish the similarities and differences between

nouns which follow adjectives with prefixes un- and non- in collocations

with unmarried and non-married in the British National Corpus (BNC).

The emphasis is on the occurrence of nouns which denote human beings.

The aim is to learn what characterises the prefixes and their distribution.

By focusing on the prefixes in unmarried and non-married, we also

examine how an electronic corpus can help bring semantic and

morphological analysis closer together, and whether it can yield

significant findings about culture and society.

Key words: corpus linguistics, derivational morphology, prefixes un- and

non-, BNC.

* [email protected]

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27 A CORPUS STUDY OF DERIVATIONAL MORPHOLOGY ‒ PREFIXES UN-

AND NON- IN THE BNC

INTRODUCTION

The use of corpora as a tool for linguistic study has proven to be productive

across a variety of language fields, from lexical analysis and key concepts in semantics,

to revelations about society and culture stemming from such studies. Much of the work

that uses corpora as a tool to study morphology, particularly derivational morphology,

seems to revolve around the issue of morphological productivity (Bybee, 2010; Baayen,

2009; Säily, 2011).

Morphological productivity refers to “the possibility to coin new complex words

according to the word formation rules of a given language”, cautioning us that “there is

still no consensus about the nature of productivity” (Plag, 1999, p. 6). By observing the

process of derivation we can notice that the productivity of affixes may vary, from those

that are highly productive, to those that exhibit no productivity.1 Advancements in

understanding morphological productivity may be attributed to the use of corpora

because they provide quantitative and falsifiable empirical research paradigm, without

which these advancements would have been impossible (Baayen, 2009, p. 39).

Gries (2014, p. 291) sees morphology in corpus-based studies as an area whose

research contributes to cognitive linguistics. This is not surprising, considering that

Gries argues that corpus linguistics should be placed within the scopes of

psycholinguistics, as well as cognitive linguistics, as there are many concepts in corpus

linguistics which can be studied from the perspective of the first two mentioned

linguistics (Jevrić, 2017b, pp. 12–13). He particularly emphasises his work on blends

which “have to strike a balance between different and often conflicting facets of

phonological similarity and semantics while at the same time preserving the

recognizability of the two source words entering into the blend” (Gries, 2014, p. 292).

Lindquist (2009) dedicates chapters of his book to areas of research studied by

means of corpora. One such chapter is that of grammar. Since grammar comprises

morphology and syntax, Lindquist covers both areas. He supplies examples of how

syntactic structures can be observed in corpora (constructions of passive with get,

adjective complementation, etc.), but also gives one example of the employment of an

electronic corpus to study morphology, that of a possible disappearance of the form

whom (Lindquist, 2009, pp. 131–134). Inspired by Sapir‟s prediction that “within a

couple of hundred years” “„whom‟ will be as delightfully archaic as the Elizabethan

1 See Rare, obscure and marginal affixes in English (Bauer, 2014) for details on infrequent

affixes.

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28 T A M A R A M . J E V R I Ć

„his‟ for „its‟”, Lindquist uses the Time Corpus, which contains American English

(AmE), to analyse the claim. By contrasting it with who, he shows that from the 1950s

the frequency of whom in AmE has remained fairly stable. This he contributes to either

content or writing style in which there is a stronger focus on people, i.e. a stronger use

of direct questions or relative clauses pertaining to people.

Revelations about morphology can arise from studies that deal with other areas.

In the paper „Medical men‟ and „Mad women‟ ‒ A Study into the Frequency of Words

through Collocations (Jevrić, 2017a) the BNC is used to study the most frequent

adjectival collocates before lemmas WOMAN and MAN. The adjectives are grouped

into semantics fields according to their meaning. One of the groups describes marital

status – love relations and marriage. For the lexeme women three adjectives are listed

in the section of collocates with positive meaning – married, non-married, and

remarried.

What makes the collocate non-married distinct from other collocates is that

major publishers (Cambridge, Oxford, Collins Cobuild, Macmillan) do not register it as

a word. Married changes its meaning by undergoing the process of affixation only with

prefixes un- or re-. While re- is used mainly with verbs to indicate a repeated action,

prefixes un- and non- are used to make words negative (other negative prefixes include

a-, de-, dis-, il-, im-, in-, ir- and no-). Carter and McCarthy (2006, pp. 475–476, 737)

list main prefixes in English explaining their meaning and exemplifying them. Non- is

defined as not, with examples following mostly nouns after the prefix: non-conformist,

non-smoker, non-stick, non-believer. Un- has two meanings: remove – undress, undo or

reverse, not ‒ unhappy, unimportant, unlucky. If we look at the same meaning of the

prefixes un- and non-, that of not, the obvious pattern here is that un- is usually

followed by adjectives, while non- occurs with nouns. Searching through the online

Cambridge Dictionary the prefix un- is defined as being used before adjectives,

adverbs, verbs, and nouns (“Un-”, n.d.). Non- is used to make adjectives and nouns

negative (“Non-”, n.d.a).

Researching the etymology of the prefixes led us to the Century Dictionary

which points to one major difference between the prefixes: Non- “differs from un- in

that it denotes more negation or absence of the thing or quality, while un- often denotes

the opposite of the thing or quality” (“Non-”, n.d.b). Un- vs non- is also a matter of Old

English vs Middle English, namely un- is an Old English prefix, while non- was

borrowed from Romance or Latin languages during the period of Middle English

causing competition between native and non-native affixes (Kastovsky, 2006, p. 169).

Another important distinction is pointed out by Plag (2003, p. 100): “Negation with

non- does not carry evaluative force” while the adjectival un- does.

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AND NON- IN THE BNC

The meaning of married is that it mostly describes nouns which denote human

beings, men or women. This, of course, does not exclude the possibility of other

collocates occurring with married, such as married person, married people, married

parents, and so on. What stands in common for all these nouns, when their meaning is

stripped down to basic features using means of componential analysis is that they are

either male or female. Thus, nouns which follow these two prefixed adjectives can be

diverse and the difference between them can reveal the attributes of affixes and their

distribution. They can also explain how electronic corpora can help us understand

meaning through research which combines elements of semantics, corpus linguistics

and morphology.

METHODOLOGY

The subject of this research is the contrastive analysis of collocations with

adjectives containing prefixes un- and non- which form the adjectives unmarried and

non-married and the nouns which follow them. In English, adjectives are most

commonly used in attributive position, and less likely in their appositive position

(Jevrić, 2017b, p. 199). The aim of the research is to establish the similarities and

differences the nouns have concerning their meaning, especially relating to the

occurrence of nouns which denote human beings, in order to learn what characterises

particular affixes in English and their distribution.

The corpus includes collocations with nouns which follow immediately after

adjectives, when the adjective and noun are interrupted by another adjective (e.g.

unmarried Protestant woman), or a conjunction (e.g. unmarried and married couples).

This is enabled by the principle of collocational span (Lindquist, 2009, pp. 73–87),

according to which collocational analysis can extend the research to five words before

or after the node word. The principle stems from Sinclair‟s definition of collocations:

“Collocation is the occurrence of two or more words within a short space of each other

in a text” (Sinclair, 1991, p. 170). The corpus encompasses both adjectival and window

nominal collocations, i.e. nouns that stand immediately next to the adjectival collocates,

and those four to five places left of the noun.

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The corpus is extracted from the British National Corpus (BNC) via an

interface.2 The adjectives are searched through the option list and then grouped based on

their meaning. Since the corpus uses the program CLAWS (Constituent Likelihood

Automatic Word-tagging System) to mark the part of speech of words in the corpus, we

leave room for the program to incorrectly tag the adjectives. Lindquist (2009, p. 47)

claims that out of 33 words in the corpus, one will be tagged incorrectly, amounting it to

97–98% of accuracy. Those words will be left out of the analysis.

ANALYSIS AND DISCUSSION

The search of unmarried resulted in 579 instances. Not all of them appear in

collocations. The word unmarried is found mainly in texts belonging to the fields of

social science, fictitious prose and in biographies. The nouns which follow unmarried

are divided into four groups.

The first group includes nouns which denote human beings. Some of them are

considered to be hyperonymous to other nouns in the group, or to nouns within the same

semantic field the nouns are divided into. Many nouns are immediate and intermediate

family members. The nouns are tabulated below:

Table 1: Nouns which collocate with unmarried

Semantic field Node word (number of occurrences)

people males (1), females (2); person (1), persons (2), people (3),

(young) people (1)

partner counterpart (1), partner (1) partners (2)

men and women man (4), men (3), (cohabiting) men (1), (Palestinian) men (1),

(young) men (1); woman (9), Woman (1), (Edwardian middle-

class young) woman (1), (Protestant) woman (1), women (43),

women (and widows) (1), (young) women (2), (bourgeois)

women (1), (or widowed) women (1), (working) women (1)

2 Davies, M. (2004-). British National Corpus (from Oxford University Press). Available online

at: https://www.english-corpora.org/bnc/.

2 0 1 9


AND NON- IN THE BNC

parents parent (1), parents (6); father (6); mother (20), Mother (1),

(working) mother (1), mothers (45), Mothers (2), (teenage)

mothers (1), mum (2), mums (3), (and uncommunicative) mum

(1)

boys and girls girl (9), (Irish) girl (1), girl (and a mother) (1), girls (6), Girls

(1), (Maltese) girls (1), (teenage) girls (2)

children child (2), children (5), (minor) children (1); son (4), sons (1), son

or daughter (1); daughter (9), Daughter (1), daughters (4),

(Clifford) daughters (1), (adult) daughters (1), (minor)

daughters (1)

grandchildren grandchildren (1), granddaughter (1)

siblings siblings (1), brother (2), brothers (2), brothers and sisters (1),

sister (5), sisters (5)

extended family

members

nephews (1), (sisters and) aunts and nieces (1), aunt (2)

ladies and

gentlemen

lady (2), (middle-aged) lady, (young) lady (1), (Scottish) lady,

ladies (1)

other Brown (1), concubinist (1), friends (1), heirs and heiresses (1),

Lord (1), minor (3), owner (1), rape victim (1), (Edinburgh-

)resident (1), teenagers (1), Widows and Widowers (1)

In the first two semantic fields nouns which refer to both sexes are dominant ‒

lemmas PERSON with one occurrence of person, two occurrences of persons and four

occurrences of people, and PARTNER with one occurrence of partner and two

occurrences of partners. In the field men and women, the number of lemmas which

denote women outweighs the number of men, namely, the corpus generated twelve

instances of unmarried woman and 49 instances of unmarried women. Man and men

occur with unmarried four and six times in that order.

PARENT as a hyperonym has seven appearances, as the lexeme parent

occurring one time and parents occurring six times. Fathers appears in the corpus only

six times, while mother 22 and mothers 48 times. The lemma MUM is generated in the

corpus search three times as mum and three times as mums. The lemma DAD did not

come up in the search.

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The lemma GIRL appears in the corpus eleven times as unmarried girl and ten

times as unmarried girls. The lemma BOY does not appear to collocate with unmarried.

In the field which groups sons and daughters, daughter and daughters occur eleven and

seven times, while son and sons occur five and one times respectively. CHILD occurs

two times as child and six times as children.

In the fields siblings, grandchildren and extended family members, sisters has

seven occurrences (as an adjacent collocation, as well as in unmarried brothers and

sisters, and unmarried sisters and aunts and nieces), brothers has three, and similarly,

sister has five occurrences compared to two which brother has. There is only one

occurrence of granddaughter in the field grandchildren, with no male counterpart to

match. The male counterpart is also missing for aunt, which has three occurrences,

while unmarried nephews and unmarried nieces are one each. Similarly, lady (both in

adjacent and window collocations) has four occurrences. Lord in other refers to God.

Ladies does not have a male counterpart.

The last field in Table 1 is other, and it brings together nouns which cannot be

placed in other fields in the table. Unmarried minor is the most common collocation

with three occurrences. Three nouns have a distinct meaning of male and female –

concubinist, Widows and Widowers. Brown refers to a man. Two nouns are

morphologically marked for gender ‒ heirs and heiresses. There seems to be an uneven

number of nouns in favour of men. However, when we take into consideration that

widows also appears in women and widows and as an adjective (widowed) women, the

number of nouns becomes more balanced, and also accentuates the correlation between

marriage and widows, rather than widowers.

The second group includes nouns which denote profession. Each noun has only

one occurrence: building workers (1), (Finnish) farmers (1), office manager (1), (young)

officers (1), priest (1), royals (1), schoolteacher (1), (female) servants (1), (male

outdoor) staff (1), store assistants (1). Two nouns are marked for gender, with the

addition of an adjective ‒ (female) servants, and (male outdoor) staff.

The third group comprises nouns which denote groups of people: cohabitation

(1), couple (4), couples (10), (cohabiting) couples (1), (and married) couples (1), group

(1), (sibling) households (1), households (1), laity3 (1), ones (1), and subjects (1). The

3 Refers to “all the people who are involved with a Church but who are not priests” (“Laity”,

n.d.).

2 0 1 9


AND NON- IN THE BNC

most common noun within this group is couples which appears in texts that are

thematically varied, from social sciences and religion, to newspaper reports.

The final group gathers nouns with a common meaning of state: motherhood (3),

state (3), condition (1), love (1) and sex (1). The only result which clearly points to

nouns specifically used in relation to women is motherhood. Although it has only three

occurrences, motherhood stands out as a noun since it is found in three different

sources, rather than appearing in a collocation used by one author.

What is consistent about nouns in the second group is that all nouns which

denote women are larger in number. In some fields male counterparts do not even

appear in the corpus results. This is a very clear indicator about different social norms

pertaining to men and women. The state of being married seems to be relevant in a

woman‟s life, regardless of age or nationality. Here, an electronic corpus can also be

used as a tool that can tell us about the roles of women in society and thus provide basis

for criticisms of such roles.4

If we were to compare two large corpora, the BNC and the internet which is, in

essence, a type of electronic corpora, but also a different storage of data not compiled

for linguistic analysis, a Google search of unmarried results in around 30 million

examples of the word. Both corpora seem to strike a balance between the number of

usages, and attest to unmarried as an adjectival modifier commonly used to describe

nouns which denote human beings. The occurrence of un-, again, becomes a matter of

morphological productivity. As a class-maintaining derivational affix, un- is highly

productive (Plag, 1999, p. 113), which is exemplified by this research.

The research of the corpus yielded 19 results of non-married. All results of non-

married but two appear before nouns. The nouns which follow it and the number of

their occurrences are: adults (1), (couple) households (2), man and woman (1), men (1),

people (2), proportion (1), women (9).

The most common collocation with non-married is non-married women

producing nine results. Other node words are few, occurring either one time or two

times. Eight of them are nouns which denote human beings, two appear with nouns in

relation to humans, non-married couple households, and one is used in a language of

calculating the number of people, “a larger non-married proportion” (Davies, 2004-,

4 Analysis of literature also provides a foundation for such criticism, wherein woman characters

can be accused of rejecting their femininity, thus exposing the expectations of men towards

women (Ćuk, 2012, p. 131).

2 0 1 9


FP45). In one concordance non-married occurs as a noun, “the portion of married to

non-married decreases” (Davies, 2004-, CKP) and in another as an adjective with no

noun to follow, “sometimes married and sometimes non-married separately” (Davies,

2004-, K8Y).

Since non-married is not registered in dictionaries as a headword, a closer

examination of broader context is needed. The option chart reveals that 15 appearances

in texts are classified as academic, one as non-academic and three as miscellaneous.

Academic texts are social sciences texts. Sixteen occurrences of non-married (in

collocations or otherwise) appear in a small number of books, namely, in Women and

Poverty in Britain (10), The Changing Population in Britain (3), Growing Old in the

Twentieth Century (2), Contemporary British Society (1), while two go under

humanities arts category, in a book Feminist Perspectives in Philosophy, as collocations

non-married man and non-married woman in non-married man and woman.

The non-academic text with the collocation non-married women is about social

work: Family work with elderly people. In the miscellaneous category we find that one

adjective appears in a book about statistics: Interpreting Data. A First Course in

Statistics. Two collocations, non-married adult and non-married women which are also

in the miscellaneous category, are found in texts classified as institute doc, Official

leaflets which, again, deal with statistics.

Insight into the broader context as well as the actual source of collocations

allows us to consider Lindquist‟s caveats about corpora containin “all kinds of mistakes,

speech errors etc.” (Lindquist, 2009, p. 10) as well as possible triviality of the findings.

The non-existence of non-married in dictionaries would certainly compel us to do so.

However, the presence of non-married seems to be limited to social science texts which

include a high level of statistical data, where one would not expect to find examples of

incorrect usages of language. Lindquist‟s mentioning of speech error leads us to

presume that mistakes would more likely occur in speech rather than writing,6 although

separate research would be necessary to prove that claim.

Corpora do register real, authentic usages of language. If we compare the results

from the BNC to Google search of non-married we notice that one and a half million

results of non-married are generated. Not all those examples appear in collocations, but

they are a testament to how some words can appear to be rare in one corpus, but

5 BNC document identification codes, as Pearce (2008, p. 8) describes them.

6 Around ninety per cent of the BNC are written texts, the rest is transcribed speech.

2 0 1 9


AND NON- IN THE BNC

common in another. This discrepancy can serve as a caveat as it may point to the limits

of corpus usage for linguistic research. It also shows that in terms of morphological

productivity, non- is noticeably less productive than un-.

These findings bring out the issue of representativity both of electronic corpora

and dictionaries. It is a common consensus that corpora can only strive to represent

language by continually compiling more data, and that they can never succeed in

covering all words that exist in real, authentic language usage and all possible

combinations of language elements. Likewise, dictionaries are examples of the same

peculiarity, but with an additional element of an inclusion of words into a dictionary

being a somewhat arbitrary matter (Plag, 1999, p. 27). Covering the period between the

1980s and 1993, the BNC is certainly not representative of what language may look like

now, but it might bear witness to the usage of non-married increasing over time and

thus providing the aforementioned Google results. Another plausible explanation of the

disparity of non-married is that the web is a significantly larger corpus, thus providing a

larger degree of representativity compared to the BNC.

CONCLUSION

Since English is rich in derivational morphology this corpus study focuses on

derivational affixes un- and non- in the BNC. To understand the affixes and their

distribution, as well as the nouns which follow the prefixed adjectives, we examined

them through the use of collocations with adjectives unmarried and non-married. Both

adjectives are to a greater number, followed by nouns which denote human beings of

the female sex. If we “know the word by the company it keeps” (Firth, 1957, p. 11), we

can safely confirm that all women, irrespective of their differences like age, religion,

etc., frequently occur in collocations that define their marital status. The BNC contains

collocations which expose social norms to which women are expected to conform. The

suggestion is that marriage is regarded as an important cultural construct built around

ideas about women and their place in society.

A contrastive analysis of the sources in which the two prefixed adjectives appear

demonstrates a common field ‒ social sciences. The difference is how unmarried and

non-married are used. Non-married, albeit rare, is used to represent statistical data by

strictly grouping people into married and non-married. Unmarried is used as simply

pointing to a person‟s marital state: “The Church of England is also responsible for

some homes, but unmarried mothers have never been a very popular cause for charity

funding” (Davies, 2004-, FU1). It is also found in literary genres of prose, “I don‟t

know if prudent or reckless love is the better, monied or penniless love the

2 0 1 9


surer, heterosexual or homosexual love the sexier, married or unmarried love the

stronger” (Davies, 2004-, G1X) and biographies, “It was indeed a performance to get

your hair cut there as the two elderly unmarried brothers quite unwittingly put on a

music hall act” (Davies, 2004-, B22).

A stark difference between unmarried and non-married arises when we compare

the number of occurrences. Unmarried is significantly more common in the corpus,

making the prefix un- a highly productive affix in the BNC, contrary to non-. If the

prefix non- is defined as the absence of the thing or quality, a possible correlation with

its meaning and its use in statistics is established. In the language of statistics, words

with neutral prosody are employed, and non- has it. Further ways of research on

derivational morphology could include the examination of other prefixed adjectives and

potentially tying them to semantic prosody.

REFERENCES

Baayen, R. H. (2009). Corpus linguistics in morphology. Morphological productivity. In

A. Lüdeling & M. Kytö (Eds.), Corpus Linguistics (899–919). Berlin, New York: De

Gruyter.

Bauer, L. (2014). Rare, obscure and marginal affixes in English. Lexis 8. Retrieved from

http://journals.openedition.org/lexis/304.

Bybee, J. L. (2010). Language, Usage, and Cognition. Cambridge: Cambridge

University Press.

Carter, R. & McCarthy, M. (2006). Cambridge grammar of English. A comprehensive

guide. Spoken and written English. Grammar and usage. Cambridge: Cambridge

University Press.

Ćuk, M. (2012). Jestiva ţena: „jestivi“ i „kanibali“ u „primitivnoj“ i „civilizovanoj“

mitologiji Margaret Etvud. Reči, 4 (5), 121–136.

Davies, M. (2004-). British National Corpus (from Oxford University Press). Available

online at: https://www.english-corpora.org/bnc/.

Firth, J. R. (1957). A synopsis of linguistic theory, 1930–1955. Studies in Linguistic

Analysis. Special Volume of the Philological Society, 1–32.

Gries, T. S. (2014). Corpus and quantitative methods. In

J. Littlemore & J. R. Taylor (Eds.), The Bloomsbury Companion to Cognitive

Linguistics (279–300). London: Bloomsbury.

2 0 1 9


AND NON- IN THE BNC

Jevrić, T. (2017a). “Medical men” and “mad women” ‒ A study into the frequency of

words through collocations. [sic] – časopis za knjiţevnost, kulturu i knjiţevno prevoĎenje

2 (9). Retrieved from https: //www.sic-journal.org/ArticleView.aspx?aid=466

Jevrić, T. (2017b). Kontrastivna analiza kolokacija sa imenicama koje označavaju

ljudska bića u engleskom i srpskom jeziku (Unpublished doctoral dissertation).

Univerzitet u Beogradu: Filološki fakultet.

Kastovsky, D. (2006). Typological changes in derivational morphology. In A. van

Kemenade & B. Los (Eds.), The Handbook of the History of English (pp. 151–176).

Oxford: Blackwell Publishing Ltd.

Laity. (n.d.). In Cambridge Dictionary online. Retrieved from

https://dictionary.cambridge.org/dictionary/english/laity

Lindquist, H. (2009). Corpus linguistics and the description of English. Edinburgh:

Edinburgh University Press.

Non-. (n.d.a). In Cambridge Dictionary. Retrieved from

https://dictionary.cambridge.org/spellcheck/english/?q=non-married

Non-. (n.d.e). In Online Etymology Dictionary. Retrieved from

https://www.etymonline.com/search?q=non-

Pearce, M. (2008). Investigating the Collocational Behaviour of MAN and WOMAN in

the BNC Using Sketch Engine. Corpora, 3 (1), 1-29.

Plag, I. (1999). Morphological productivity. Structural constraints in English

derivation. Berlin: Walter de Gruyter.

Plag, I. (2003). Word-formation in English. Cambridge: Cambridge University Press.

Säily, T. (2011). Variation in morphological productivity in the BNC: Sociolinguistic

and methodological considerations. Corpus Linguistics and Linguistic Theory, 7 (1),

119–141.

Sinclair, J. (1991). Corpus, concordance, collocation. Oxford: Oxford University Press.

Un-. (n.d.). In Cambridge Dictionary online. Retrieved from

https://dictionary.cambridge.org/dictionary/english/un?q=un-

2 0 1 9


TAMARA M. JEVRIĆ

KORPUSNO ISTRAŢIVANJE DERIVACIONE MORFOLOGIJE ‒ PREFIKSI

UN- I NON- U BRITANSKOM NACIONALNOM KORPUSU

Rezime: Korpusi kao sredstvo izuĉavanja morfologije se mahom koriste za izuĉavanje

produktivnosti, s obzirom na to da je u engleskom jeziku derivaciona morfologija

veoma izraţena. Korpusi se takoĊe mogu koristiti kako bi se analizirao odnos izmeĊu

kolokacija i afiksa koji ih saĉinjavaju. Cilj ovog istraţivanja jeste da se utvrde sliĉnosti i

razlike izmeĊu imenica koje idu posle prideva sa prefiksima un- i non- u kolokacijama

sa unmarried i non-married u Britanskom nacionalnom korpusu (BNK). Akcenat je na

imenicama koje oznaĉavaju ljudska bića. Cilj je, takoĊe, da se utvrdi šta karakteriše te

prefikse i njihovu distribuciju. Fokusiranjem na prefikse u unmarried i non-married,

izuĉavamo i kako elektronski korpusi mogu da pribliţe semantiĉku i morfološku

analizu, i da li mogu da daju znaĉajne nalaze o kulturi i društvu.

Kljuĉne reĉi: korpusna ligvistika, derivaciona morfologija, prefiksi un- i non-,

Britanski nacionalni korpus.




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39


DOI: 10.5937/reci1912039V

UDC: 811.163.41'373.21/.23:81'373.6

Ţarko B. Veljković*

Srpski nauĉni centar, Beograd

„SKLAVKO“ ILI SLAVOČ, UŽICA ILI UŽICE?

Saţetak: Uţiĉka gradska vlast je malen trg ispred gradske kuće nazvala Sklavkov

plato i sveĉano ga otvorila 09. 10. 2017, na godišnjicu prvog pomena grada

Uţica u istorijskim izvorima. Naime, „Sklavko“ je prvi Uţiĉanin koji se – uz ime

svog rodnog mesta – u istorijskim izvorima pominje, i to u jednoj potvrdi o

pozajmici novca za zalog, sklopljenoj u Dubrovniku 9. 10. 1329, gde se veli:

„Mila, ţena ,Sklavka‟ iz Uţica“. U kapitalnom Rečniku ličnih imena kod Srba ne

postoji srpsko ime „Sklavko“, niti ijedno ime na Skl-, ni muško, a ni ţensko, a

sâm pomen je na srednjovekovnom latinskom i glasi: Mila, uxor de Sclavoco de

Usiça, „Mila, ţena Slavoĉa, iz mesta po imenu Uţica”, pri ĉemu na prvi pogled

vidimo da se u tumaĉenju muškog imena Sclavocus previdelo središnje -o-, tj.

srpski sufiks -oč (na lat. -ocus/-oçus/-oç/-ocius/-otius/-oçius/-ozius). Stoga –

preciznosti radi – ime trga ispred uţiĉke gradske kuće valja iz Sklavkov plato

promeniti u Slavočev plato, a ,Sklavko‟ u Slavoč. Razmatra se i prvi pomen grada

Uţica u istorijskim izvorima, koji glasi u mnoţini Uţica, kao i etimologija

samog naziva.

Kljuĉne reĉi: Uţice, Sklavkov plato, ime Slavoĉ (Sclavocus), Uţica (Usiça),

*uţice „mali meandar”, reka Đetinja.

* [email protected]

2 0 1 9

40 Ž A R K O B . V E L J K O V I Ć

UVODNE NAPOMENE

Nedavno su nam nauĉnu paţnju privukli naslovi u dnevnim listovima Novosti,

Blic i Danas: „Uţice na savet akademika dobilo Sklavkov plato“ (Janković, 2017, str.

23), „Sklavko i Mila se razveli nakon sedam vekova: trg u Uţicu poneo ime po

,najstarijem‟ sugraĊaninu“ (V. L, 2017, str. 12), odnosno „Uţiĉani dobili ,Sklavkov

plato‟“ (Kovaĉević, 2017, str. 23). Tu smo saznali da je uţiĉka gradska vlast na

inicijativu akademika SANU Ljubomira Simovića, roĊenoga Uţiĉanina, malen trg

ispred gradske kuće nazvala Sklavkov plato i sveĉano ga otvorila 09. 10. 2017, na

godišnjicu prvog pomena grada Uţica u istorijskim izvorima, što je hvale vredno i u

duhu negovanja stare srpske istorije.

„SKLAVKO“ ILI SLAVOĈ?

Naime, pomenuti „Sklavko“ prvi je Uţiĉanin koji se – uz ime svog rodnog mesta

– u istorijskim izvorima pominje, i to ne nekom većom zaslugom, već samo kao muţ

svoje ţene – zajmodavca u jednoj „zaduţnici“, tj. potvrdi o pozajmici novca za zalog,

sklopljenoj u Dubrovniku 9. 10. 1329, gde se veli: „Mila, ţena ,Sklavka‟ iz Uţica“.

Dakle, u ovoj potvrdi o pozajmici novca za zalog „Sklavko“ sluţi jedino za

identifikaciju svoje ţene (Tomović, 1989, str. 117–173; Simović, 2002; Janković, 2017,

str. 23), kako je to i bio nekad obiĉaj u našoj starini – devojka bi do udaje bila

identifikovana po oĉevom, a po udaji po muţevljevom imenu, odnosno imenu i

prezimenu (Šimunović, 1985, str. 35), ako je muţ imao prezime.1

Protiv jednog ovakvog nesavremenog imenovanja ţene, tek prema imenu muţa,

pobunio se lokalni opštinski Savet za ravnopravnost polova, zahtevajući da se plato

nazove Milin i Sklavkov plato, tim više što je u pomenutoj potvrdi o pozajmici novca za

zalog glavni akter (tj. ona koja drţi novce i zajmi za zalog) upravo Mila, a ne

„Sklavko“. Lokalna Komisija za imenovanje trgova i ulica odbacila je ovaj zahtev

(Janković, 2017, str. 23; V. L, 2017, str. 12; Tomović, 1989, str. 117–173), što

smatramo da je s pravom uĉinjeno, iz dva razloga: 1) Ne moţemo projektovati sadašnje

stanje na prošlost. To je paraistorijski i spada pod istorijski inţenjering. Kako je nekad

bilo – naţalost ili na radost – bilo je, i ostavimo to nekad da u prošlosti i poĉiva. 2) Mila

1 Prezimena su se, naime, tek docnije pojavila, a tvorena su od imena, nadimka ili apelativa

(nazvanja) oca, odnosno zasluţnoga pretka, reĊe majke, odnosno zasluţne pretkinje (Šimunović,

1985, str. 13, 14–16).

2 0 1 9

41 „SKLAVKO“ ILI SLAVOČ, UŽICA ILI UŽICE?

u dokumentu nije eksplicitno pomenuta kao Uţiĉanka, već samo njen muţ „Sklavko“

(Tomović, 1989, str. 117–173; Janković, 2017, str. 23; V. L, 2017, str. 12; Kovaĉević,

2017, str. 23), što sve ĉak moţe pretpostavljeno znaĉiti i da je dotiĉna Mila bila bogata

dubrovaĉka naslednica ili udovica koja se udala za dotiĉnog „Sklavka“ iz Uţica. To bi

bio brak izmeĊu Dubrovĉanke/Raguzejke, jeziĉki posrbljene Romanke koja je govorila i

raguzejski romanski, ili, pak, (ne)raguzeizovane Srpkinje i Srbina, gde su oba

supruţnika govorila isti jezik, starosrpski, jedino što je Mila najverovatnije bila

katolikinja, a „Sklavko“ pravoslavac (up. Rešetar, 1894, str. vii; Đerić, 1914, str. 30–34;

Pucić, 1858, str. 99), pri ĉemu je na venĉanju jedno od njih moralo da promeni veru,

verovatno jer se oţenio bogat(ij)om ţenom – „Sklavko“, pravoslavnu u katoliĉku. No,

to sve ostaje pretpostavka dokle se Milin i „Sklavkov“ identitet precizno ne utvrde u

dubrovaĉkim srednjovekovnim dokumentima.

TakoĊe, izvesni uţiĉki intelektualci zamerili su da je ime „Sklavko plod greške u

pisanju dubrovaĉkih ćata jer [...] ovo ime, baš kao ni danas, nije postojalo ni pre sedam

vekova” (Janković, 2017, str. 23). Svi uţiĉki istoriĉari, ĉlanovi „Društva istoriĉara

Uţica“, zamerili su da je „pitanje da li je to bio pravi prevod, Sklavko ili Slavko“ (Z. G,

2017, str. 9), a i reĉ je o muţu „ţene koja je izdala menicu koja je bila zelenaška menica

14. veka“ (Tomović, 1989, str. 147) (jer reĉ je o zalogu kuće). Pri tom, niko od uţiĉkih

istoriĉara niti je struĉno konsultovan, niti uĉestvovao ili hteo nadalje da uĉestvuje u

Komisiji za imenovanje trgova i ulica (pošto struka nije bila uvaţena) (Z. G, 2017), dok

se gradonaĉelnik Uţica snašao na otvaranju Sklavkovog platoa, pa je pomalo

iracionalno-pesniĉki rekao: „Iako je [ime] neobiĉno, i iako je [to] ime Sklavko teško

izgovoriti, to ime je uţiĉko, samo uţiĉko i niĉije više. Sklavko, dobrodošao kući, posle

688 godina.” (Kovaĉević, 2017, str. 23).

Uputili smo se tim tragom i proverom u kapitalnom delu Rečnik ličnih imena kod

Srba utvrdili da ne postoji srpsko ime „Sklavko“, niti ijedno ime na Skl-, ni muško, a ni

ţensko (Grković, 1977, str. 179, 305). To nas vraća na gornje zamerke, koje se

ispostavljaju kao put ka taĉnom rešenju pošto pomenuta potvrda o pozajmici novca za

zalog nije napisana na starosrpskom, već na srednjovekovnom latinskom, i to na pisanoj

gotici (odnosno gotiĉkom kurzivu), a ovaj dokument (Sl. 1) u dubrovaĉkom arhivu

pronašao je akademik SANU Sima Ćirković.

2 0 1 9


Slika 1. Dubrovaĉka potvrda o pozajmici novca za zalog od 9. 10. 1329, gde se prvi put

pominju Uţice i Uţiĉanin „Sklavko“

U njemu, u sredini drugog reda stoji otprilike: ∩ηiℓa Vχor de Scℓauoco de

V∫i ۭ ca, tj. (savremenim pismom i ujednaĉenim pravopisom) „Mila, uxor de Sclavoco de

Usiça” (Tomović, 1989, str. 117–173; Fond Diversa Cancellariae, ad f. 117; Novak,

1952, str. 241, 242), što bi u srpskom prevodu bilo „Mila, ţena Slavoĉa, iz mesta po

imenu Uţica”, pri ĉemu na prvi pogled vidimo da se u tumaĉenju muškog imena

Sclavocus previdelo središnje -o-, tj. srpski sufiks -oč (na lat. -ocus/-oçus/-oç/-ocius/-

otius/-oçius/-ozius) jer npr. *Bratoç (prema romaniz. prez. de Bratoçe),

Dobrocus/Dobroçus/Dobroç/Dobrocius/Dobroçius/Dobrozius,

Marcoç/Marcotius/Marcoçius/Marchozius, Marocus/*Maroç (prema ţ. Maroça),

Michocius/Michoçius, Radocius, Ti[c]oç/[Ti]cocius/Ticoçius (Tichoçius)/Ticozius stoje

za Bratoč, Dobroč, Markoč, Maroč, Mihoč, Radoč, Tihoč (Jireĉek, 1904, str. 28, 45, 70;

Luĉić, 1984, str. 390, 397, 405; Luĉić, 1988, str. 346; Monumenta Ragusina II, 1882,

str. 402, 403, Monumenta Ragusina III, 1895, str. 359, 367; Gelcich, 1896, str. 272,

274, 279, 284; Gelcich, 1897, str. 93, 97, 124; Tadić, 1935, str. 361, 368; Stipišić, 1981,

2 0 1 9


str. 738), dok se srpski završetak ili sufiks -ko (sâm ili kao deo sloţenijih sufiksa) beleţi

latinskim -cus/-chus/-g[c]hus/-icus/-ichus/-igchus.2

Zašto pišu Sclavocus sa -Scl-? Zato što srednjovekovni latinski obiĉno umeće u

koren slovenskih reĉi Словѣнинъ i Словѣньскъ(ıй), te svih od njih nastalih reĉi u

starosrpskom i srpskom, suglasnik k pa piše (uz zamenu slovenskog o glasom a) –

Sclav-, povodeći se ĉisto u pisanju (i izgovoru) za Grcima, pošto srednjovekovni grĉki

obavezno umeće tu suglasnik θ ili κ lakšeg izgovora radi,3 pa piše (uz zamenu

slovenskog o glasom a)4 – Σθλαβ-, odnosno Σκλαβ- (Σκλαυ-). Otud imamo srv. lat.

S(c)lavus „Sloven“, S(c)lavus, Sclavonicus, Sclavonescus, Sclavonicalis „,slovinski‟, tj.

2 U npr. Andruscus/Andruschus, Biticus, Bojchus, Bolchus, Boscus,

Bosigchus/Bosig[c]hus/Bosigc[h]us, Bositchus, Bratcus/Braticus, Braycus (Brajcus)/Braychus,

Butcus/Butichus, Crancus, Craycus, Dabraycus, Dapchus, Dimcus/Dimchus,

Dobercus/Doberchus, Dobretchus/Dobreticus, Drascus/Draschus, Francus/Franchus, Gavchus,

Goycus, Ivancus, Jacopcus, Jufchus, Jurcus, Liupicus, Marcus/Marchus, Marinchus, Maruscus,

Matchus, Milactichus (Milachtichus), Milatcus/Milatchus/Millaticus, Milcus/Milchus,

Mircus/Mirchus, Miserchus, Nifficus, Pavluscus/Pavluschus, Perveticus, Petchus/Pettichus,

Pirchus, Poverschus, Pribetchus, Pribitchus, Pripcus/Pripchus, Radenchus, Radetchus/Radeticus,

Radoychus, Ratcus/Ratchus/Rattichus, Radcus/Radichus, Ruscus/Ruschus, Sanchus,

Sencus/Senchus (Semchus), Simchus (Symchus), Sramcus, Stancus/Stanchus/Stang[c]hus/

Stanicus/Stanichus, Stanojcus, Stepcus/Stepchus, Stipicus, Stoycus/Stoychus, Tomcus/Tomchus,

Toncus/Tonchus, Tvertcus/Tvertchus/Tvertichus, Tverdicus, Valcus/Valchus, Velcus,

Veselcus/Veselchus (Vesselchus), Veseochus, Vitcus/Vitchus, Vlatcus/Vlatchus/Vlatichus,

Vraticus/Vratichus, Zivcus, Çivcus/Çivchus (Civcus/Civchus), Givcus/Givchus, Zvetcus, Sfietchus,

Çanchus, Çonchus, Çuncus stoje za Andruško, Bitko, Bojko, Boljko, Boško, Boţko, Boţitko,

Bratko, Brajko, Butko, Hranko, Krajko, Dobrojko, Dapko, Dimko, Dobrko, Dobretko, Draško,

Franko, Gavko, Gojko, Ivanko, Jakopko, Jovko, Jurko, Ljupko, Marko, Marinko, Maruško,

Matko, Milačko, Milatko, Milko, Mirko, Mizerko, Nifko, Pavluško, Prvetko, Petko, Pirko,

Površko, Pribetko, Pribitko, Pripko, Radenko, Radetko, Radojko, Ratko, Radko, Rusko, Sanko,

Senko, Simko, Sramko, Stanko, Stanojko, Stepko, Stipko, Stojko, Tomko, Tonko, Tvrtko, Tvrdko,

Valko, Veljko, Veselko, Veseoko, Vitko, Vlatko, Vratko, Ţivko, Dţivko, Đivko, Cvetko, Cvjetko,

Dţanko, Dţonko, Dţunko, a ime Slavko i od njega izvedeno prezime/patronim Slavković piše se –

Slavcus/Slavchus i Slavcovich (Slafcovich) (Luĉić, 1984, str. 385, 388, 395, 396, 403, 406, 408–

410; Luĉić, 1988, str. 346, 350, 354, 362, 364, 366; Kurtović, 2010, str. 98; Dinić, 1957, str. 107;

Dinić, 1967, str. 242–244, 249–254, 256–261; Monumenta Ragusina I, 1879, str. 296, 303, 306;

Monumenta Ragusina II, 1882, str. 384, 386, 390, 394, 398, 399, 401, 402, 405, 406, Monumenta

Ragusina III, 1895, str. 361, 363, 364, 366; Gelcich, 1896, str. 267–270, 272, 274, 275, 277–281,

284–288, Gelcich, 1897, str. 136, 230, 394, 412, 414, 415, 419, 429, 436, 444, 446, 447; Tadić,

1935, str. xxiii, xxxv, 47, 83, 145, 174, 252, 254, 277, 311, 320, 321, 362, 366; Smiĉiklas, 1911,

str. 666). 3 To je zato što je srednjovekovni grĉki njemu tada fonetski teško ostvarivu grupu σλ uklanjao

umetanjem protetiĉkog θ ili κ (Skok, 1973, str. 282). 4 To je zato što je slovensko kratko o dugo vremena bilo otvoreno, odnosno vuklo u izgovoru na

a, te otud njegova najobiĉnija transkripcija glasom a u stranim jezicima (Ivšić, 1970, str. 60).

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srpski (jezik i ćiriliĉko pismo)“, Sclavicus „,slovinjski‟, tj. slovenaĉkokajkavski“,

odnosno srv. grĉ. Σθλάβος, Σκλάβος, Σκλαβηνóς (Σκλαυηνóς), Σκλαβινóς „slovenski;

Sloven“, Σκλαβικóς, Σκλαβινικóς „slovenski“, Σκλαβησιανοί ,,Sloveni u Grĉkoj“

(docnije dopola pogrĉeni) (Kostrenĉić, Gortan i Herkov, 1973, str. 1055, 1093; up. Ivić,

1991: 219; Kukuljević Sakcinski, 1868, str. 312–18; Sophocles, 1900, str. 987, 995;

Skok, 1934, str. 91–103). U tom maniru, srednjovekovni latinski umetne i u koren

slovenske i starosrpske i srpske reĉi slava suglasnik k, pa i tu piše sclav-, te otud imamo

srv. lat. Brat[os]clavus (1335) za srpsko ime Bratoslav, srv. lat.-ital. Voisclavo (1361)

za srpsko ime Vojislav/(?) Vojslav, srv. lat. Goysclavich (1338) za srpsko

prezime/patronim Gojslavić, srv. lat. i srv. lat.-ital. Pervos(c)laviz (1356) za srpsko

prezime/patronim Prvoslavić, srv. lat. Tolisclavi (1357) za srpski (?) patronim Tolislavić

(Ljubić, 1868, str. 464; Ljubić, 1872, str. 54, 337, 351; Ljubić, 1874, str. 41). Isto tako, i

u tekstu same ove potvrde o pozajmici novca na zalog ima zapisano Radosclava (1329)

za srpsko ime Radoslava (Tomović, 1989, str. 117–173)!

Iz svega izloţenog jasno je da je ime prvog Uţiĉanina pomenutog u istorijskim

izvorima ne „Sklavko“, nego – Slavoč. To nam potvrĊuje i Rečnik ličnih imena kod

Srba na osnovu kojeg moţemo zakljuĉiti da je ime Slavoč srpsko ime tvoreno od korena

slav-, preciznije od (skraćenog) imena *Slavъ, skraćenoga od (dvoosnovinskog) imena

na Slav- poput Slavoljub, Slavomir, Slavogost, Slavorad, Slavoslav i sl., i (danas

zastarelog) sufiksa -oč (Grković, 1977, str. 64, 118, 134, 139, 147, 167, 169, 180, 194).

Stoga – preciznosti radi – ime trga ispred uţiĉke gradske kuće valja iz Sklavkov plato

promeniti u Slavočev plato, a „Sklavko‟ u Slavoč, dok se ova nenamerna greška još nije

meĊu ljudima ukorenila.

O TOPONIMU UŽICE

Prvi pomen grada Uţica i njegovog naziva u istorijskim izvorima glasi, kako

smo videli gore, Uţica, a ako se uporedi sa današnjim nazivom Uţice, mislim da

moţemo pretpostaviti da je ime grada Uţica isprva glasilo u mnoţini Uţica (up. Loma,

2007, str. 446) i menjalo se kao danas ime sela Kremna u istome kraju, odnosno predeo

kod Splita Poljica. Dakle, danas bi se (da tako glasi) menjalo: *Uţica, *Uţicâ,

*Uţicima, *Uţica, *Uţica, *Uţicima, *Uţicima, a nekada se (u starosrpskom) menjalo:

Оужица, *Оужиць, *Оужицемь, *Оужица, *Оужица, *Оужици, *Оужицихь.

Potom je prešlo u jedninu Uţice, kako se i danas menja, za šta treba uporediti ime mesta

Kosjerići u tom kraju koje je prešlo u jedninu, pa poĉelo da glasi, kao i danas, Kosjerić,

i to zbog jednog prostog razloga – naselje je jedno, a njegov naziv, ako je u mnoţini,

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ponegde kao da oznaĉava više (jedinki) neĉega, te tako dolazi do diskrepancije. Jezik to

rešava prebacivanjem naziva naselja iz mnoţine u jedninu (Loma, 2013, str. 274).

A šta bi znaĉilo to izvorno Uţica? Etimologija koju liĉno moţemo dati jeste

sledeća. Izvorni toponim Uţica znaĉio bi „predeo gde ima više (jedinki) onog što se

zove *uţice, kao što i (ĉakavsko) hrv. Poljíca znaĉi „predeo gde ima više (jedinki) onog

što se zove poljíce“. Poljíce jeste „malo polje; polješce“, tj. starinska umanjenica od

pȍlje, odnosno reĉ odmilja za pȍlje, a gradila se dodavanjem sufiksa -ice na reĉi na -e

srednjega roda. Tako su takoĊe graĊene i naše (isto danas zastarele) reĉi cvêćīce, ijek.

cv jećīce „malo cveće; cvećašce“ od cvêće, ijek. cv jeće, zdrâvljice/zdravljíce

„zdravlješce“ od zdrâvlje, imanjíce „malo imanje; imanjce“ od imánje, kao i prûćice

„malo pruće; prućešce” od prûće (Bošković, 2000, str. 271, 272; Stevanović i dr, 1967,

str. 291, 446, 447; Stevanović i dr, 1971, str. 670; Stevanović i dr, 1973, str. 274;

Stevanović i dr, 1976, str. 769). Vidimo, gramatiĉki, da je u predelu današnjeg Uţica

nekada bilo više (jedinki) onog što se zove *uţice, što je, dakle, starinska umanjenica od

uţe, kako nam to svedoĉi i staroruska reĉ ужице i bugarska въжице (Slovar' cerkovno-

slavjanskogo i russkogo jazyka, 1847, str. 331; Bošković, 2000, str. 271). Pri tom, da je

u tom predelu nekada postojala ova i ovakva starinska umanjenica, svedoĉi nam i naziv

polja Poljice (u selu Gorjani) u okolini Uţica (Titovo Uţice, 1970). Oĉito da ova reĉ

*uţice nije znaĉila „malo uţe“, već je morala imati i neko dodatno, starinsko znaĉenje, u

ovom sluĉaju „uţe oko struka, pojas“ (Slovar' cerkovno-slavjanskogo i russkogo jazyka,

1847, str. 330; Sreznevskij, 1912, str. 1163), i to u geografskom smislu, tj. ono kada

reka čini pojas, „krivuda preko neĉeg“, odnosno „pravi meandre (petljice)“ (Stevanović

i dr, 1971, str. 614), kako sam o tome pre koju godinu i pisao u Uţičkoj nedelji

(Veljković, 2009, str. 22; up. i Loma, 2007, str. 446). Naime, u predelu od Starog grada

u Uţicu, odnosno Uţiĉkog grada, pa nadalje, reka Đetinja ĉini nekoliko malih

„pojaseva“, meandara (Maksimović i Vojnović, 2017, str. 41, 42, 64; Kuzović, 2018,

str. 196, 197; Titovo Uţice, 1970), odnosno (reklo bi se starinski) *uţicâ, pa je po tome

i ceo predeo dobio ime Uţica, a po tom predelu i mesto, potom tvrĊava, odnosno grad

koji je na njemu nikao.5

5 Što se tiĉe dosadašnjih etimologija naziva grada Uţica drugih kolega, naš vodeći etimolog,

akademik Aleksandar Loma (SANU) veli da se naziv ovog grada, Uţice, javlja isprva u mnoţini

Uţica, i da je njegova etimologija nejasna, naime:

U Ĉeškoj ima naizgled podudaran toponim Úţice, ali on se tumaĉi kao patronimsko

obrazovanje od nadimka úţ ,zmija belouška‟, tako da bi njegov srpski ekvivalent glasio

*Uţići. Moglo bi se pomišljati na komparativ uţi, jer je tamošnja tvrĊava podignuta na

mestu, gde se, idući uzvodno, dolina Đetinje suţava u klisuru, ali i za takvo obrazovanje

nedostaju paralele.” (Loma, 2007: 446)

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Za sâm kraj, reĉ-dve o akcentu reĉ uţe i Uţice (Veljković, 2009, str. 22). Reĉ

uţe se u svôm jeziĉkom razvoju javlja u dve (gramatiĉke) promene i sa tri ili ĉetiri

akcenta, odnosno u nekoliko akcenatskih podtipova promene. U starini (i danas

zastarelo) – úţe s genitivom úţa (Gluhak, 1993, str. 659; Stefanović-Karadţić, 1898, str.

796), te prelaskom u sliĉnu promenu – úţe s genitivom úţeta, što je savremen oblik, i

(jedini) knjiţevan/normiran (Vujanić i dr, 2011, str. 1347). TakoĊe, nekad i – úţe s

genitivom *ùţeta (Stevanović, 1986, str. 229, 230). U starijem razvoju (prema ţî,

komparativu prideva od istoga korena, i sliĉnog znaĉenja, ili, pak, krateći se u

kratkosilazni akcenat poput kráva > krȁva) – ţe s genitivom ţeta, kako je po

zapadnim krajevima srpskoga jezika i npr. u Ĉaĉku (Gluhak, 1993, str. 659; Belić, 1969,

str. 161; V. Šljivić, liĉna komunikacija), ali ovaj akcenat ipak nije knjiţevan/normiran.

U mlaĊem razvoju – ûţe s genitivom * ţeta (prema npr. prâse s genitivom prȁseta)

(Stevanović, 1986, str. 229), odakle ujednaĉavanjem akcenta u govoru ovih krajeva,

zlatiborskom govoru – ûţe s genitivom ûţeta (M. Janković, liĉna komunikacija), što

takoĊe nije knjiţevan/normiran akcenat.

Otuda i dugosilazni akcenat u zlatiborskom, lokalnom obliku naziva grada –

Ûţice, dok u dobrom delu Srbije i po zapadnim krajevima srpskoga jezika ĉujemo

kratkosilazni akcenat – Ȕţice (C. Lozo, liĉna komunikacija; autor). Pošto se

kratkosilazni akcenat ove reĉi moţe ĉuti u većem delu istoĉnohercegovaĉkog, kao i u

šumadijsko-vojvoĊanskom dijalektu (a oni su uzeti za osnovicu srpskog

knjiţevnog/normiranog jezika), pri tome odgovara i normiranom obliku ţād

(Stevanović i dr, 1976, str. 435; Vujanić i dr, 2011, str. 1347), stari je pravopis srpskog

MeĊutim, Radosav Bošković razotkriva da su deminutivi na -ice od reĉi na -e srednjega roda,

preciznije (i isprva) od kolektiva na –ьје srednjega roda, imali izvorni oblik na -ьјьце, što je

fonetski dalo –īce (kasnije i, pokraćeno, -ice), dok je jotovan/umekšan suglasnik umetan

sekundarno, analogijom prema sekundarnom obliku na -ê kolektiva na -ьје srednjega roda od

kojeg se izvoĊenje isprva i vršilo, pri ĉemu se oblik na - ˆӣце/-ˆице shvatao kao

deminutiv/hipokoristik perintegrisanim sufiksom -ӣце/-ице od sekundarnog oblika kolektiva na -

ê, na primeru: прӯтьје > *прӯтьјьце > *прӯтӣце (pa prema прӯт[ь]је > прŷће) > *прӯћúце i

*прŷћӣце > *прућúце i прŷћице (shvaćeno kao deminutiv/hipokoristik sufiksom -īce/-ice od

prûće) (Bošković, 2000, str. 271, 272). Iz tog razloga, mi moţemo pretpostaviti ili – fonetski –

уже > *ужьје > *ужьјьце > *ужице > mn. Uţica > jd. Uţice [za ĉim nema, preko

nepostojećega kolektiva *уж(ь)је, ikakve potrebe posezati], ili, pak – perintegracijom – uţe >

*uţice > mn. Uţica > jd. Uţice, pri ĉemu na izvoĊenje od uzak ni ne pomišljamo jer bi – fonetski

– uzak > *узьје> *узьјьце> *узице> mn. *Uzica > jd. *Uzice bilo nemoguće [uz to bi moralo i

ostati sa -z- jer se -ţ- ne bi moglo umetnuti iz kolektiva *уз(ь)је pošto bi on i u sekundarnom

obliku glasio bez -ţ-, *uzje], a niti oblik *uzice/*Uzica/*Uzice uopšte postoji, dok bi, sa druge

strane – perintegracijom – uzak > *uze > *uzice > mn. *Uzica > jd. *Uzice bilo sasvim gramatiĉki

i leksiĉki nemoguće. U smislu svega ovde iznesenog, jedino (realno) moguće izvoĊenje je –

perintegracijom – uţe > *uţice > mn. Uţica > jd. Uţice.

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(„srpskohrvatskog“) jezika u vreme SFRJ normirao prvenstveno taj akcenat – Ȕţice, ali

je paralelno normirao i dugosilazni akcenat po izvesnom automatizmu poštujući lokalni

izgovor zato što i zlatiborski (kriptojekavski) govor spada u istoĉnohercegovaĉki

dijalekat, pa stoga i – Ûţice (Aleksić, Vuković i Hraste, 1960, str. 757). Ipak, stari je

pravopis time sam sebi protivreĉio jer akcenatski podtip promene ûţe s genitivom ûţeta

– nije normirao, već samo, kao i danas, úţe s genitivom úţeta (Stevanović i dr, 1976,

str. 436). Moţemo reći da se u sadašnjoj, novijoj normi srpskog jezika po ovim

pitanjima ništa (zvaniĉno) nije promenilo, jedino što se teţi da se normira samo

kratkosilazni akcenat, dakle samo – Ȕţice (Šipka, 2010, str. 1177). Isto tako, ako je

kratkosilazni akcenat u akcenatskom podtipu promene ţe s genitivom ţeta rezultat

kraćenja dugouzlaznog u kratkosilazni akcenat (poput kráva > krȁva), trebalo bi onda i

njega dodatno normirati, pored već (otpre) normiranoga úţe s genitivom úţeta.

TakoĊe, pored uobiĉajene, i knjiţevne/normirane, pravilne promene (to) Uţice,

(iz) Uţica, ... (u) Uţicu, u jednom delu Srbije ĉuje se i nepravilno (te) Uţice, (iz) Uţicâ...

(u) Uţicama, što je jednako nepravilno kao kad bismo umesto (to) Lebane, (iz)

Lebana... (u) Lebanu rekli (te) Lebane, (iz) Lebanâ... (u) Lebanama. Pravopis tu jasno

preporuĉuje: „Uţice : (u) Uţicu – bolje nego Uţice : (u) Uţicama“ (Piţurica, Pešikan i

Jerković, 2010, str. 475; Aleksić i dr, 1960, str. 757), dok Normativna gramatika

srpskog jezika precizno propisuje: „Imenica Uţice ima samo jedninu. Zato nije ispravno

u Uţicama, nego u Uţicu.” (Piper i Klajn, 2013, str. 58).

ZAKLJUĈNE NAPOMENE

U ovome radu dat je struĉan odgovor iz ugla klasiĉnog filologa i paleografa, kao

i srpskog jezikoslovca sa izvesnim etimološkim iskustvom – je li moglo postojati staro

srpsko ime „Sklavko“ i je li se srednjovekovno latinsko ime Sclavocus (1329) uopšte i

moglo proĉitati kao „Sklavko“. Odgovor je na oba pitanja negativan, a proizlazi iz

iskustva u odgovarajućim nauĉnim oblastima, kao i iscrpnog poznavanja obimne

uţestruĉne literature i izvora. Upravo se iz toga nesaglednog uţestruĉnog iskustva i daje

u nauci struĉan odgovor, ali – pošto je ipak reĉ o starini jezika – vazda u nadi da smo

taĉno zakljuĉili i kazali. U ovom sluĉaju, odgovor glasi da je reĉ o starom srpskom

imenu Slavoč, pri ĉemu je data i jedna nova etimologija toponima Uţice, od reĉi *uţice,

starinske umanjenice od uţe u dodatnom, starinskom znaĉenju „uţe oko struka, pojas“, i

to u geografskom smislu „mali meandar“. Zašto se odgovor neetimologa ponekad toliko

razlikuje od odgovora struke? Mislim da nam na ovo znaĉajno pitanje vrlo zgodno

mogu da odgovore preporuke – preduslovi koje za ozbiljno bavljenje onomastikom i

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toponomastikom daje naš vodeći etimolog, akademik Loma (SANU), u svome radu

Toponomastika kao izazov:

1) Što potpunija dokumentovanost imenâ kojima se bavimo. To

podrazumeva dijalektološki verno zabeleţene njihove ţive oblike,

akcentovane i u raznim padeţima, kao i zbir ranijih pomena, poĉev od

najstarijeg poznatog. Od koristi u svojstvu posrednih pokazatelja mogu

biti i neki vanjeziĉki podaci, kao što je izgled objekata, uvid u lokalnu

istoriju, arheološka evidencija, narodna predanja vezana za mesto i

njegovo ime, a takoĊe najuţi toponomastiĉki kontekst (npr. eventualno

postojanje imena u susedstvu obrazovanih na isti naĉin kao ono koje je

predmet razmatranja, koja sa njim stoje u nekoj semantiĉkoj opoziciji).

2) Dobro poznavanje svih jezika i dijalekata odraţenih u toponimiji

šireg podruĉja, i to ne samo na sinhronoj ravni, nego u istorijskoj

perspektivi, sa posebnim teţištem na razvoju glasovnog sistema,

leksike, tvorbe i deklinacije. 3) Dobar uvid u toponimiju datog i njemu

geografski bliskih i(li) srodnih dijalekata i jezika, koji ukljuĉuje svest o

za nju specifiĉnim fonetskim, morfološkim i semantiĉkim pojavam i

zakonitostima, kao i poznavanje karakteristiĉnih toponimskih tipova i

formacija. 4) Dobar uvid u istorijsku geografiju datog podruĉja, sve do

najranijih raspoloţivih izvora, i sposobnost kritiĉkog korišćenja starih i

stranih zapisa imena. Ovi zahtevi su univerzalnog karaktera i postavljaju

se pred toponomastiĉara, kako u Srbiji, tako i.. svuda širom sveta.

(Loma, 2001, str. 18–19).

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LITERATURA:

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V. L. (26. septembar 2017). Slavko i Mila se razveli nakon sedam vekova: trg u Uţicu

poneo ime po „najstarijem‟ sugraĊaninu. Blic, str. 12.

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Z. G. (6. oktobar 2017). I istoriĉari protiv imena „Sklavkov plato“. Uţička nedelja, str. 9.

ŢARKO B. VELJKOVIĆ

IS IT “SKLAVKO” OR SLAVOĈ, UŢICA OR UŢICE?

Summary: The city government of Uţice named the small square in front of the Town

Hall Sklavko‟s Square and inaugurated it on 9 October 2017, on the anniversаry of the

first mention of Uţice in historical sources. Namely, “Sklavko” was the first inhabitant

of Uţice mentioned, along with his native Uţice, in historical sources – in a loan

certificate made in Ragusa (Dubrovnik) on 9 October 1329, which states “Mila, wife of

„Sklavko‟ from Uţice”. The Serbian name “Sklavko” is not found in the comprehensive

Dictionary of Serbian personal names (Rečnik ličnih imena kod Srba), and neither is

any name, male or female, beginning with Skl-. The historical record itself was

composed in Medieval Latin, stating: Mila, uxor de Sclavoco de Usiça, “Mila, wife of

Slavoĉ, from the place named Uţica”; it is noticeable at first glance that the masculine

name Sclavocus was misinterpreted by overseeing the middle -o-, i.e. the Serbian suffix

-oč (in Lat. -ocus/-oçus/-оç/-оcius/-оtius/-оçius/-оzius), e.g. *Bratoç,

Dobrocus/Dobroçus/Dobroç/Dobrocius/Dobroçius/Dobrozius, Marocus/*Maroç,

Radocius stand for Bratoč, Dobroč, Maroč, Radoč, while the Serbian suffix -ko (alone

or as a part of complex suffixes) is marked by the Latin -cus/-chus/-g[c]hus/-icus/-

ichus/-igchus, for instance, Bratcus/Braticus, Dobercus/Doberchus, Marcus/Marchus,

Radcus/Radichus stand for Bratko, Dobrko, Marko, Radko. Also, the name Slavko, as

well as the patronym/surname Slavković derived from it, are written as Slavcus/Slavchus

and Slavcovich (Slafcovich). The name Sclavocus was written with -Scl- because

Medieval Latin usually inserted the consonant k in the root of the Slavic words

Словѣнин and словѣньскъ(ıјь), as well as in the root of all Old Serbian and Serbian

words derived from them, and wrote (while replacing the Slavic o with the vowel a)

Sclav-, emulating Medieval Greek orthography (and pronuntiation). This is due to the

fact that Medieval Greek constantly inserted the consonants θ or κ in the

aforementioned root in order to make pronuntiation easier, and wrote (while replacing

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the Slavic o with the vowel α) Σθλαβ- and Σκλαβ- (Σκλαυ-), respectively. In the same

manner, Medieval Latin inserted the consonant k in the root of the Old (Chakavian)

Croatian and (Chakavian) Croatian (as well as Old Serbian and Serbian) word slava,

and wrote equally sclav-. Therefore, for the sake of precision, the name of the square in

front of Uţice Town Hall should be altered from Sklavko‟s Square (Sklavkov plato) to

Slavoč‟s square (Slavočev plato), and the name 'Sklavko' to Slavoč. The first mention of

Uţice in historical sources, stating Uţica in plural, has also been scrutinized, as well as

the etymology of this oeconym. Uţica meant “the area in which there are several items

named *uţice”. Also, *uţice is the old diminutive of the word uţe, “rope” in the

additional, antiquated meaning of “rope around the waist, belt”, which can also denote a

“little meander” in geographic terms. Namely, in the area of The Old Town of Uţice,

i.e. the area from the Fortress of Uţice onwards, the Đetinja River has several little

meanders (Serb. *uţica) and because of this phenomenon the whole area got the name

Uţica, and so did the inhabited place, later fortress, and the town which sprung in it.

Key words: Uţice, Sklavko‟s Square (Sklavkov plato), name Slavoč (Sclavocus), Uţica

(Usiça), *uţice „little meander”, the Đetinja River.




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54


DOI: 10.5937/reci1912054C

UDC: 159.947.5.072-057.875

378.147::811.111

Tanja S. Cvetković*

Univerzitet u Nišu

Filozofski fakultet

Branko D. Gorgiev

Univerzitet u Nišu

Filozofski fakultet

ANALIZA MOTIVACIJE STUDENATA PRILIKOM

IZBORA STRANOG JEZIKA NA NEMATIČNIM

DEPARTMANIMA**

Apstrakt: Rad se bavi prouĉavanjem motivacije kod studenata prilikom izbora

kursa stranog jezika na nematiĉnim departmanima Filozofskog fakulteta u Nišu.

Ovakvi kursevi se koncipiraju s uverenjem da će, ako više odgovaraju

interesovanjima i potrebama studenata, razviti i veću motivaciju za uĉenje. Rad

se fokusira na ponašanje studenata tokom pohaĊanja kursa engleskog jezika na

nematiĉnim departmanima, kao i na njihove stavove prema kursu koji su izabrali.

* [email protected]

** Rad je rezultat istraţivanja u okviru internog projekta Kursevi stranih jezika: Teorijske

postavke i praktične implikacije (No. 183/1-16-(2)-01), koji je sproveden na Filozofskom

fakultetu u Nišu.

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55 ANALIZA MOTIVACIJE STUDENATA PRILIKOM IZBORA STRANOG JEZIKA

NA NEMATIČNIM DEPARTMANIMA

Ovaj kurs se vrlo ĉesto koncipira kao Engleski jezik za posebne namene (EPN).

Ponašanje studenata i njihova motivacija prilikom izuĉavanja engleskog jezika

biće odreĊeni na osnovu teorije kompleksnih i dinamiĉnih sistema (the complex

dynamic systems theory). Ova teorija zasniva se na postavci da motivacija

studenata zavisi, pre svega, od liĉnog interesovanja i angaţovanja studenata u

uĉionici tokom izabranog kursa engleskog jezika, ali i od dinamiĉnih faktora

prisutnih u sistemu uĉenja. Rad se zasniva na rezultatima sprovedenih anketa i

zadatih upitnika, kao i na posmatranju studenata tokom kursa. Rezultati pokazuju

da najveći broj studenata bira kurs engleskog jezika radi usvajanja gradiva koje

se prouĉava, te da je najveći broj studenata zainteresovan da uĉi i stiĉe opšta

znanja iz engleskog jezika i kulture.

Kljuĉne reĉi: motivacija, teorija kompleksnih dinamiĉnih sistema, anketa,

jezik za posebne namene, opšti engleski.

UVOD

Kursevi stranog jezika za posebne namene, u konkretnom sluĉaju, kursevi

engleskog jezika za posebne namene, nastaju i razvijaju se kao rezultat studentskog

interesovanja i motivisanosti da pohaĊaju kurseve engleskog jezika koji su u skladu sa

njihovim potrebama i koji im pomaţu u profesionalnom orijentisanju. Pored ovakvih

stavova koje nalazimo kod Brauna (Brown, 2007, str. 161), postoje zapaţanja da se

studenti vrlo ĉesto odluĉuju za kurseve engleskog jezika opšte namene (Brunton, 2009,

str. 57).

Stoga je cilj ovog rada odreĊivanje motivacije studenata za izbor kursa

engleskog jezika kao kursa opšte namene ili kao kursa za posebne namene, kao i faktora

koji bliţe odreĊuju studentsku motivisanost za izbor odreĊenog tipa kursa stranog

jezika. Nakon razmatranja teoretskih znanja o motivaciji polaznika kursa pri izboru

odreĊenog tipa stranog jezika, autori rada se fokusiraju na mali uzorak rezultata

istraţivanja sprovedenog na univerzitetskom nivou izuĉavanja engleskog jezika i na

ĉinjenicu kako se ovi rezultati uklapaju u kontekst engleskog jezika za opšte ili posebne

namene.

TEORETSKA RAZMATRANJA

Šezdesetih godina prošlog veka popularni metod u studijama o motivaciji za

uĉenje stranog jezika bio je društveno-edukativni metod Roberta Gardnera (Gardner,

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56 T A N J A S . C V E T K O V I Ć , B R A N K O D . G O R G I E V

1960). Gardner se bavio prouĉavanjem motivacije kod frankofonih govornika koji uĉe

engleski jezik, kao i kod anglofonih govornika koji uĉe francuski kao drugi jezik u

Montrealu. Ovaj metod se takoĊe primenjivao i kod izuĉavanja engleskog za posebne

namene. Istaknuti deo ovog metoda bio je motiv integracije koja se zasnivala na

poistovećivanju sa uĉenicima stranog jezika, što je kod njih pobuĊivalo jaku motivaciju

za uĉenje. Motiv integracije odnosio se, pre svega, na mogućnost spontane upotrebe

francuskog ili engleskog jezika u situacijama inter-etniĉkog kontakta. MeĊutim,

Gardner je uoĉio da su potignuća u uĉenju engleskog jezika zavisila ne samo od motiva

integracije već i od instrumentalne orijentacije, odnosno od ţelje da se ostvare i neki

praktiĉni ciljevi, kao što su dobar posao ili društveno priznanje, koje je poznavanje

odreĊenog jezika donosilo (Gardner, 1966, str. 24–44).

Primenjujući društveno-edukativni metod kod kurseva engleskog za posebne

namene, Al-Tamimi i Šuib (Al-Tamimi & Shuib, 2009) koriste upitnike i intervjue kako

bi bliţe odredili motivaciju studenata stranog jezika. Polaznici kurseva pokazali su jak

motiv instrumentalne orijentacije, kao što je uĉenje engleskog jezika sa svrhom

pronalaţenja posla, ali su ispoljavali i jake negativne emocije prema zajednici koja je

uĉila engleski jezik. Studija ovih istraţivaĉa dala je dobre uvide u opšte stavove

polaznika. MeĊutim, dalja istraţivanja iziskivala su dublju analizu jeziĉkog okruţenja.

Odgovarajući na ovaj zahtev, britanski lingvista maĊarskog porekla Zoltan

Dorniaj (Dornyei, 2009; Dornyei, 2011; Dornyei, MacIntyre & Henry, 2015) razvio je

novi metod u izuĉavanju stranog jezika koji je nazvao motivacioni samo-sistem

(motivational self-system), kojim se direktno fokusira na stavove studenata prema

jeziĉkom okruţenju u uĉionici. Ovaj metod ukljuĉuje odnose polaznika sa vršnjacima i

nastavnicima, izgled uĉionice, samu prirodu jeziĉkih aktivnosti i zadataka, i

mnogobrojne druge faktore koji utiĉu na stav prema uĉenju stranog jezika.

Da bi se bolje razumeo naĉin na koji jeziĉko okruţenje u kombinaciji sa drugim

faktorima utiĉe na uĉenje stranog jezika i na koji se uticaj okruţenja odraţava na rad u

uĉionici, koristi se teorija kompleksnih i dinamiĉnih sistema. Teorija kompleksnih i

dinamiĉnih sistema predstavlja vrlo efikasan naĉin za analizu motivacije studenata. Kod

ove teorije naglasak je na iskustvu uĉenja u uĉionici (Henry, 2015, str. 85; Waninge,

2015, str. 199).

Vaninge (Waninge) je prouĉavala ponašanje studenata koji izuĉavaju strani jezik

u uĉionici. Na osnovu eksperimenata o motivacionoj dinamici naglasak je bio usmeren

ka emocijima koje su studenti ispoljavali prilikom izuĉavanja stranog jezika.

Najzapaţenija emocionalna stanja bila su: zainteresovanost, na osnovu koje su studenti

aktivno uĉestvovali na ĉasu; dosada, zbog koje studenti nisu pratili nastavu; neutralnost,

koja je izazivala pasivno ponašanje studenata. Vaninge je zakljuĉila da se

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zainteresovanost javljala usled postojanja mnogih faktora kao što su razliĉite aktivnosti

u toku uĉenja jezika, uticaj nastavnika, vršnjaka, itd. (Waninge, 2015, str. 201).

Zainteresovanost je bila povećana u sluĉajevima kada se poklapala sa liĉnim

interesovanjima studenata i njihovim ciljevima u studiranju, a koji nisu bili vezani

iskljuĉivo za jezik. I dok ovaj drugi razlog za zaineresovanost studenta moţe da ukaţe

na ĉinjenicu da kurs stranog jezika za posebne namene moţe stimulisati studenta,

ĉinjenica da je zainteresovanost zavisila i od liĉnih razloga ukazuje na to da treba da se

analiziraju svi faktori u uĉionici koji utiĉu na angaţovanost studenta u uĉenju stranog

jezika.

Na osnovu zakljuĉaka do kojih je došla Vaninge, ovaj rad uzima u obzir

ponašanje studenata na ĉasu i zasniva se na anketama koje su sprovedene meĊu

studentima, kao i na posmatranju ponašanja studenata i razgovorima koje su nastavnici

imali sa njima (na osnovu zapaţanja). Stoga autori rada pokušavaju da odgovore na

sledeća pitanja:

- Koji su faktori koji motivišu studente prilikom izuĉavanja stranog jezika?

- Zbog ĉega studenti biraju kurs stranog jezika za posebne namene, odnosno kurs

stranog jezika za opšte namene?

METODE

Ovaj rad je nastao kao rezultat projekta Kursevi stranog jezika: teorijske

postavke i praktiĉne implikacije, koji se sprovodi na Filozofskom fakultetu u Nišu u

okviru Centra za strane jezike. Autori rada anketirali su studente koji uĉe engleski jezik

na Departmanu za sociologiju i Departmanu za socijalnu politiku i socijalni rad na

osnovnim studijama na nivou A2 i B1-B2. Anketirana je i još jedna mala grupa

studenata filologije na master studijama koji su birali engleski jezik kao izborni

predmet. Njihovo poznavanje engleskog jezika je na nivou B2. Autori rada koristili su

više metoda u istraţivanju: anketirali su studente, razgovarali sa njima, a razgovori su se

zasnivali na karakteristiĉnim zapaţanjima.

Da bi rezultati bili efikasniji korišćena je metoda mešovitog pristupa – pored

ankete povremeno su voĊeni i razgovori sa uĉenicima kod kojih je nastavnik zapaţao

karakteristiĉno ponašanje u usvajanju znanja na ĉasu.

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ANKETE I RAZGOVORI

Anketa o motivaciji studenata saĉinjena je na osnovu teorijskih postavki o

motivacionoj dinamici prilikom izuĉavanja stranog jezika (Henry, 2015, str. 91;

Waninge, 2015, str. 202). Konaĉna verzija ankete-upitnika sastojala se od 10 pitanja. U

prilogu rada dat je model ankete sa pitanjima o motivaciji koja su postavljena

studentima.

Anketa je sastavljena po ugledu na anketu koja je u okviru postojećeg projekta

data uĉenicima, a koja se u naĉelu odnosila na uĉenje stranog jezika na Filozofskom

fakultetu. MeĊutim, anketa koja se koristi u ovoj studiji fokusira se, pre svega, na

pitanja o motivaciji studenata prilikom uĉenja stranog jezika, tako da se pitanja u anketi

– od petog do osmog – vrlo konkretno odnose na motivisanost studenata kod uĉenja

stranog jezika. Pitanje broj devet je više opšteg tipa, ali je takoĊe bitno u odreĊivanju

motivisanosti studenata s obzirom na to da se odnosi na pratkiĉnu dimenziju usvajanja

znanja, dok se pitanje broj deset odnosi na liĉne pobude studenata, koje su izuzetno

vaţne prilikom ispitivanja motivisanosti za uĉenje stranog jezika. Prva ĉetiri pitanja u

anketi su opšteg tipa i data su ne bi li se precizniznije odredila populacija koja se

ispituje, kao i radi davanja odgovora na pitanje da li su ponuĊeni kursevi stranog jezika

primereni nivou znanja studenata.

U prouĉavanju motivacije studenata uobiĉajeno je da se posebno obrati paţnja na

to kako uĉenici pristupaju obavezama i zadacima koje im nastavnik daje. Nastavnik se

fokusira na jednog studenata i njegovo ponašanje sa ciljem dolaţenja do dubljih

zakljuĉaka (Henry, 2015, str. 85). Kada se zapazi odreĊeno ponašanje kod studenata,

obiĉno se odmah posle ĉasa i porazgovara o tome (Henry, 2015, str. 86). Ovakvo

ponašanje prati se tokom nekoliko nedelja. U ovom istraţivanju navedeno praćenje je

trajalo pet nedelja.

Pre nego što se izvedu zakljuĉci, nastavnik/istraţivaĉ u grupi izdvaja uzorak.

Uĉenicima se najpre saopštava mogućnost da mogu izabrati da li će uĉestvovati u

razgovoru. Ponašanje studenata koji ne uĉestvuju u razgovoru se ne posmatra. Izdvaja

se nekoliko studenata koji pokazuju odreĊeno ponašanje, odnosno ĉije je ponašanje

postalo upadljivo. Iz ove grupe nasumice se bira jedan student ĉije se ponašanje

posmatra i zahvaljujući kome se kroz razgovor dolazi do odreĊenih zakljuĉaka.

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ANKETA – UZORAK

Upitnik je dat studentima koji izuĉavaju engleski jezik na departmanima za

sociologiju i socijalni rad i socijalnu politiku na osnovnom nivou studija Filozofskog

fakulteta u Nišu, kao i studentima filologije na nivou master studija datog fakulteta.

Anketirano je 27 studenata osnovnih studija i 4 studenta master studija koji su

izabrali da uĉe engleski jezik. U anketi su uĉestvovali studenti koji su uĉili engleski

jezik na nivou B1-B2 i koji su u prethodnom sememestru takoĊe pohaĊali kurs A2.

Stoga se pitanja i odgovori odnose na oba nivoa poznavanja jezika.

Sledi tabela sa pozitivnim odgovorima na pitanja koja su bitna za utvrĊivanje

motivacije studenata kod izbora i uĉenja stranog jezika. Rezultati ankete izraţeni su

procentualno dok su detaljnija objašnjenja data u delu o rezultatima ankete.

Tabela 1. Pozitivni odgovori studenata na pitanja o motivaciji prilikom izbora i uĉenja

stranog jezika

Kurs

Sociologija

Socijalni rad i socijalna

politika

Engleski za posebne

namene B2

Predavanja stranog jezika su

korisna.

50% 100%

Pri izboru stranog jezika gradivo

je najveća motivacija.

60% 100%

Najveću motivaciju studenti

imaju na poĉetku ĉasa.

50% 25%


imaju tokom ĉasa.

30% 50%


imaju na kraju ĉasa.

20% 25%

Studenti bi najviše voleli da na

ĉasu stranog jezika stiĉu opšta

znanja iz kulture i jezika.

70% 50%

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REZULTATI

Na pitanje da li su ĉasovi predavanja i veţbi stranog jezika koji su izabrali

korisni ili ne, 20 uĉenika osnovnih studija sociologije i socijalne politike i socijalnog

rada odgovorilo je sa – da, a 7 uĉenika iste grupe sa – ne. S druge strane svi uĉenici

filologije, na master studijama, odgovorili su sa – da.

Na pitanje da li ponuĊeni kurs engleskog jezika odgovara njihovom nivou

znanja, 20 uĉenika sa osnovnih studija odgovorilo je sa – da, a 7 sa – ne. Svi anketirani

uĉenici sa master studija dali su pozitivan odgovor na ovo pitanje.

Na pitanje šta ih najviše motiviše da biraju odreĊeni strani jezik, 21 student

sociologije i socijalne politike i socijalnog rada odgovorio je da je to gradivo iz stranog

jezika, a 6 uĉenika da su to vršnjaci i drugi studenti koji takoĊe biraju isti (engleski)

jezik. Na ovo pitanje svi uĉenici sa master studija filologije odgovorili su da je to

gradivo iz engleskog jezika.

Na pitanje kako se osećaju pre odlaska na ĉas stranog jezika, 17 studenata

sociologije i socijalne politike i socijalnog rada odgovorilo je da im je svejedno, 7

uĉenika je odgovorilo da se oseća motivisano i uzbuĊeno, dok su 3 studenta odgovorila

da ne ţele da idu na ĉas. Studenti filologije su na ovo pitanje odgovorili da se osećaju

motivisano i uzbuĊeno – njih dvoje, a 2 uĉenika iz iste grupe odgovorilo je da im je

svejedno.

Kada je u pitanju deo ankete koji se odnosi na to u kom delu ĉasa uĉenici imaju

najveću motivaciju za uĉenje, uĉenici sa osnovnih studija dali su sledeće odgovore: njih

8 dalo je odgovor da najveću motivaciju ima na poĉetku ĉasa, 13 – tokom ĉasa, a njih 5

na kraju ĉasa. Studenti filologije su na ovo pitanje odgovorili: 1 uĉenik – na poĉetku

ĉasa, 2 – uĉenika tokom ĉasa, i 1 uĉenik – na kraju ĉasu.

Na pitanje kako se ponašaju tokom ĉasa engleskog jezika, studenti sociologije i

socijalne politike i socijalnog rada odgovorili su: 8 da aktivno uĉestvuje u radu, 16 da

pasivno posmatra i sluša, dok su 2 uĉenika nezainteresovana. Studenti filologije dali su

sledeće odgovore: 3 uĉenika da aktivno uĉestvuju u radu, 1 uĉenik da pasivno posmatra

i sluša.

U vezi sa pitanjem koja znanja i veštine steĉena na ĉasu stranog jezika najviše

pomaţu u razvoju jeziĉkih kompetencija, uĉenici sa osnovnih studija izjavili su sledeće:

njih 12 istaklo je u prvi plan konverzaciju, 6 gramatiku, 9 slušanje i ĉitanje, a njih 3

znanje iz kulture tog jezika. Kod ovog pitanja mnogi uĉenici zaokruţivali su po dva

odgovora. Studenti filologije odgovorili su na sledeći naĉin: 1 – konverzacija, 2 –

gramatika, 1 – slušanje i ĉitanje.

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Na poslednje pitanje, šta bi najviše voleli da uĉe na ĉasu stranog jezika, 18

uĉenika sa osnovnih studija odgovorilo je da su to opšta znanja iz jezika i kulture

stranog jezika, a 9 uĉenika je reklo da su to znanja iz jezika struke. Studenti filologije

podelili su svoje odgovore: 2 uĉenika su bila za opšta znanja, a 2 za jezik struke.

ANKETA - DISKUSIJA

Na departmanima za sociologiju i socijalni rad i socijalnu politiku, engleski jezik

je koncipiran kao kurs opšte namene, kao i na ostalim nematiĉnim departmanima

Filozofskog fakulteta na kojima se izuĉava engleski jezik. Kod studenata filologije koji

slušaju engleski jezik na master nivou, koristi se poseban materijal iz oblasti studiranja

na engleskom jeziku.

Dobijeni rezultati idu u prilog Henrijevoj teoriji (Henry, 2015, str. 85) koja

uzima u obzir razliĉite faktore pri analizi motivacije uĉenika. Ova teorija odnosi se na:

reakciju uĉenika kada je u pitanju njihov rad tokom ĉasa, njihov rad sa vršnjacima,

prirodu materijala koju prouĉavaju, aktivnost na ĉasu. Uĉenici su davali odgovore na

pitanja o vremenskoj podeli aktivnosti tokom ĉasa, radu sa vršnjacima, strukturi

razliĉitih zadataka koje su dobijali tokom ĉasa i o ponašanju tokom ĉasa.

Uĉenici svih grupa istiĉu znaĉaj sliĉnih aktivnosti tokom ĉasa sa fokusom na

opšte veštine i znanja iz oblasti kulture stranog jezika. Pored ĉetiri uĉenika koji su

izuĉavali engleski za posebne namene i koji su istakli znaĉaj materijala iz njihove

oblasti studiranja na engleskom jeziku (filologija), ostali uĉenici istakli su znaĉaj

sticanja funkcionalnih znanja od skoro sliĉnih aktivnosti tokom ĉasa. Ovakvi rezultati

poklapaju se sa rezultatima istraţivanja o uĉenju stranog jezika koje pruţa uĉenicima

mogućnost da steĉena znanja primene u razliĉitim kontekstima (Brunton, 2009, str. 57).

Štaviše, sliĉne veštine tokom uĉenja, usmene veštine, konverzacija i

razumevanje, aktivnosti koje proširuju opšte znanje stranog jezika, predstavljale su

motivaciju za obe grupe uĉenika, uz aktivno i pasivno uĉešće na ĉasu. Pasivna

angaţovanost jasno je izraţena u odgovorima svih grupa (oko 50%, tj. polovina

ispitanika, dalo je odgovor da pasivno posmatra i sluša), kako se navodi i u studiji

Vaninge (Waninge, 2015, str. 203).

Na osnovu sprovedene ankete zakljuĉuje se da većina uĉenika smatra da su im

predavanja i veţbe iz engleskog jezika korisni i da odgovaraju njihovom nivou znanja.

Svi anketirani studenti filologije dali su isti odgovor. Iako tri ĉetvrtine studenata

sociologije i socijalnog rada i politike smatra da ih najviše motiviše gradivo iz

engleskog jezika, kao što smatraju i svi anketirani studenti filologije, ipak dve trećine

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anketiranih studenata sociologije i socijalnog rada i socijalne politike nije motivisano da

ide na ĉasove engleskog jezika. Njihov odgovor je bio da im je svejedno.

Studenti sociologije i socijalnog rada i socijalne politike (skoro polovina

anketiranih uĉenika) smatraju da najveću motivaciju za uĉenje jezika imaju tokom ĉasa,

iako su se izjasnili da im je svejedno da li idu na ĉasove engleskog jezika. Studenti

filologije (polovina anketiranih uĉenika), najveću motivaciju imaju, takoĊe, tokom ĉasa.

Ovakvi odgovori navode na zakljuĉak da je gradivo i naĉin usvajanja engleskog jezika

zaista njihova najveća motivacija za uĉenje.

O tome kako se ponašaju tokom ĉasa, najveći broj anketiranih studenata

sociologije i socijalnog rada i socijalne politike (više od dve trećine) odgovorio je da

pasivno posmatra i sluša, dok je većina studenata filologije odgovorila da aktivno

uĉestvuje u radu. Na osnovu zapaţanja nastavnika, mnogo veći broj uĉenika od onih

koji su se tako izjasnili ponaša se nezainteresovano na ĉasu.

Najveći broj studenata sociologije i socijalnog rada i socijalne politike izjasnio se

da u uĉenju stranog jezika najviše pomaţu konverzacija, slušanje i ĉitanje – govorne

veštine koje usvajaju; meĊu studentima filologije, polovina anketiranih uĉenika

opredelila se za gramatiku.

Kod poslednjeg pitanja, dve trećine studenata sociologije i socijalnog rada i

socijalne politike i polovina studenata filologije ţeli da stiĉe opšta znanja iz engleskog

jezika kulture.

RAZGOVORI SA UĈENICIMA – DISKUSIJA

Tokom ĉasova engleskog jezika, nastavnik je pratio i posmatrao ponašanje

uĉenika u pogledu motivisanosti sa kojom pristupaju radu i ispunjavanju zadataka,

razgovarao sa njima, ponekad ĉak i duţe, o razlozima njihovog odreĊenog ponašanja.

Tako se došlo do sledećih zakljuĉaka.

Jedan od uĉenika izjavio je da na ĉas dolazi sa pozitivnom motivacijom i da je

razlog tome odnos sa vršnjacima i informacije koje dobija tokom uĉenja. Retke

momente nezainteresovanosti koje je nastavnik primetio i koji su bili povod za

razgovor, kao što su švrljanje po svesci i ĉitanje poruka u telefonu, uĉenik je objasnio

reĉima da je u pitanju stvar navike, a ne problem sa nastavnim materijalom,

nastavnikom i bilo ĉim drugim vezanim za predavanje ili veţbe stranog jezika.

Drugi uĉenik je svoju nezainteresovanost objasnio na sledeći naĉin. Na ĉas je

došao sa priliĉno visokim stepenom motivacije. Tokom ĉasa motivacija je opala, uĉenik

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je proveravao telefon i šaputao sa vršnjacima, zbog duţine predavanja ili zbog

postojanja iste vrste aktivnosti tokom duţeg perioda, što mu se inaĉe dešava na svim

predavanjima.

Treći uĉenik je objasnio da je kursu engleskog jezika pristupio sa negativnim

stavom. Nastavnici koji su mu predavali engleski jezik u osnovnoj i srednjoj školi

nikada nisu budili interesovanje za engleski kod njega. Izborom kursa iz engleskog

jezika njegovo mišljenje se promenilo i povećala se zainteresovanost za engleski jezik

zato što ga je nastavnik aktivirao tokom ĉasa i zato što je sticao opšta znanja iz

engleskog jezika i kulture.

Ostali uĉenici sa kojima su voĊeni razgovori davali su manje-više sliĉne

odgovore, odnosno razlozi za njihovu motivisanost bili su po prirodi otprilike sliĉni

gore navedenim, te se stoga smatra da nema razloga da se posebno izdvajaju.

ZAKLJUĈAK

Na osnovu svega se moţe zakljuĉiti da najveći broj anketiranih uĉenika bira

engleski jezik zato što voli da uĉi gradivo iz tog jezika bez obzira na to što je veći broj

uĉenika izjavio da im je svejedno da li idu na ĉas engleskog jezika, kao i da najveću

motivaciju dobijaju tokom ĉasa engleskog jezika, što dovodi do zakljuĉka da su gradivo

i naĉin usvajanja znanja iz engleskog jezika zaista njihova najveća motivacija.

S druge strane, najveći broj odgovora anketiranih uĉenika bio je da oni pasivno

slušaju i posmatraju na ĉasu engleskog jezika, što nije dobar naĉin za uĉenje. Ovakvi

odgovori uĉenika nisu u skladu sa rezultatom ankete: da najveći broj uĉenika smatra da

na ĉasovima najviše pomaţe konverzacija, slušanje i ĉitanje, tj. govorne veštine koje se

razvijaju prilikom usvajanja engleskog jezika.

Nastavnik koji predaje engleski jezik takoĊe zapaţa da uĉenici vole ĉasove

konverzacije, ali i da ne ţele da uĉestvuju u istoj aktivnosti. Na pitanje koji je uzrok

takvog ponašanja, obiĉno se dobija odgovor da nisu raspoloţeni. Kod poslednjeg i

kljuĉnog pitanja ankete dolazi se do zakljuĉka da, iako se povremeno ĉuju zahtevi da

uĉenici treba da uĉe jezik struke, ipak se najveći broj uĉenika izjašnjava da ţeli da

upoznaje i stiĉe opšta znanja iz engleskog jezika i kulture, što je i suština kursa koji se

nudi uĉenicima na ovim departmanima.

Na osnovu ovog istraţivanja došlo se do zakljuĉka da su se uĉenici opredelili za

kurs engleskog za posebne namene, odnosno za opšti engleski, pre svega iz praktiĉnih

2 0 1 9


razloga: radi efikasnijeg proširivanja znanja u struci ili sa ciljem da znanja iz opšteg

engleskog primenjuju u skladu sa svojim opštim interesovanjima.

Na osnovu razgovora sa uĉenicima došlo se do saznanja da su duţina predavanja

i prethodno iskustvo u uĉenju jezika uticali uglavnom negativno na motivaciju, dok su

odnos sa vršnjacima i informacije dobijene na ĉasu bili razlog pozitivne motivacije za

uĉenje stranog jezika.

LITERATURA

Al-Tamimi, A. & Shuib, M. (2009). Motivation and attitudes towards learning English:

A study of petroleum engineering undergraduates at Hadhramout University of Sciences

and Technology. GEMA: Online Journal of Language Studies, 9 (2), 29–55.

Brown, D. (2007). Language learner motivation and the role of choice in ESP listening

engagement. ASP 51, 159–177.

Brunton, M. (2009). An evaluation of students‟ attitudes to the general English and

specific components of their course: A case study of hotel employees in Chiang Mai,

Thailand. ESP World 4, 1–82.

Dornyei, Z. (2009). The L2 motivational self-system. In Z. Dornyei & E. Ushioda (eds),

Motivation, language identity, and the L2 self (9–42). Bristol: Multilingual Matters.

Dornyei, Z. (2011). Research methods in applied linguistics: Quantitative, qualitative,

and mixed methodologies. Oxford: Oxford University Pres.

Dornyei, Z., MacIntyre, P. & Henry A. (eds.). (2015). Motivation dynamics in

language learning. Bristol: Multilingual Matters.

Gardner, R. C. (1960). Motivational variables in second language acquisition

(neobjavljena doktorska teza). McGill University, Montreal, Canada.

Gardner, R. C. (1966). Motivational variables in second language learning.

International Journal of American Linguistics 32, 24–44.

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Henry, A. (2015). The dynamics of possible selves. In Z. Dornyei, P. MacIntyre, A.

Henry, (eds.), Motivation dynamics in language learning (83–94). Bristol: Multilingual

Matters.

Waninge, F. (2015). Motivation, emotion, and cognition: Attractor states in the

classroom. In Z. Dornyei, P. MacIntyre, A. Henry, (eds.), Motivation dynamics in

language learning (195–213). Bristol: Multilingual Matters.

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PRILOG

FILOZOFSKI FAKULTET U NIŠU

CENTAR ZA STRANE JEZIKE

ANKETA

Ovaj upitnik sačinjen je za potrebe istraţivanja u okviru projekta Filozofskog

fakulteta u Nišu koji nosi naziv Kursevi stranih jezika: teorijske postavke i praktične

implikacije. Rezultati ankete biće korišćeni za potrebe naučnoistraţivačkog projekta

koji ima za cilj utvrĎivanje efikasnosti učenja stranog jezika na Univerzitetu. Molimo

Vas da pitanja paţljivo pročitate i na njih odgovorite a) zaokruţivanjem jedne ili više

ponuĎenih mogućnosti ili b) upisivanjem odgovora na otvorena pitanja. Za

popunjavanje ovog upitnika potrebno je oko 15 minuta. Zahvaljujemo se na saradnji!

1. Na kom departmanu Filozofskog fakulteta studirate?

_______________________________________________________

2. Koji strani jezik ste izabrali kao drugi strani jezik?

______________________________________________________

3. Da li smatrate da su ĉasovi predavanja i veţbi stranog jezika koji ste izabrali:

a) korisna b) nisu korisna

4. Da li ponuĊeni kurs stranog jezika odgovara Vašem nivou znanja:

a) da b) ne

5. Šta Vas najviše motiviše da birate odreĊeni strani jezik:

a) gradivo iz tog jezika

b) nastavnik koji predaje taj jezik

c) vršnjaci, drugi studenti, koji takoĊe biraju isti jezik

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6. Kako se osećate pre odlaska na ĉas stranog jezika:

a) motivisano i uzbuĊeno

b) ne ţelim da idem na ĉas

c) svejedno mi je

7. Kada imate najveću motivaciju za uĉenje jezika:

a) na poĉetku ĉasa

b) tokom ĉasa

c) na kraju ĉasa

8. Kako se ponašate za vreme ĉasa stranog jezika:

a) aktivno uĉestvujete u radu

b) pasivno posmatrate i slušate

c) nezainteresovani ste (ĉitate poruke na telefonu, priĉate, crtate po svesci, ...)

9. Koja znanja koja stiĉete na ĉasu stranog jezika najviše pomaţu da razvijete svoje

jeziĉke veštine:

a) konverzacija

b) gramatika

c) slušanje i ĉitanje

d) znanja iz kulture tog jezika

10. Šta biste najviše voleli da uĉite na ĉasu stranog jezika:

a) da stiĉete opšta znanja iz jezika i kulture tog stranog jezika

b) da stiĉete znanja iz jezika struke

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TANJA S. CVETKOVIĆ

BRANKO D. GORGIEV

ANALYSIS OF STUDENTS’ MOTIVATION IN CHOOSING A FOREIGN

LANGUAGE COURSE AT NON-AFFILIATED DEPARTMENTS

Abstract: The paper focuses on studying students‟ motivation when they sign up for a

foreign language course at the non-affiliated departments at the Faculty of Philosophy,

Niš. These courses are created with the conviction that they will develop motivation for

foreign language learning if they are better suited to students‟ interests and needs. The

paper deals with students‟ behaviour during the English language course at the non-

affiliated departments and with their attitudes towards the course they chose. This

course is often conceived as English for specific purposes (ESP). Students‟ behaviour

and motivation during the English language course will be determined on the basis of

the complex dynamic systems theory. This theory is based on the assumption that

students‟ motivation depends on personal interest and students‟ engagement during the

English language course, but also on the dynamic factors in the classroom. The paper is

based on the results of a questionnaire and observations made during the course. The

results show that most students sign up for the English language course because of the

contents of the course and that most students want to acquire general knowledge of

English language and culture during the course.

Key words: motivation, theory of complex dynamic systems, questionnaire, English for

specific purposes, general English.




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69


DOI: 10.5937/reci1912069B

UDC: 741.5:316.7(73)"197/..."

Zlatko Bukaĉ*

University of Zadar

Department of English

HYPERMASCULINITY AND INFANTILIZATION OF

BLACK SUPERHEROES: ANALYSIS OF LUKE CAGE AND

RAGE ORIGIN STORIES

Abstract: This study covers the relation between popular superhero culture and

racial difference, specifically, narratives about black superheroes. With the

analysis of the origin stories of two black superheroes, Luke Cage and Rage, the

paper will point out how their stories consequently and predominantly form

discourses of representing difference through the process of infantilization, and

by perpetuating stereotypes saturated primarily in hypermasculinity. By

theoretically framing the notions of representation of difference within the works

of Stuart Hall and Homi Bhabha, this analysis argues that hypermasculinity,

anger issues, and infantilization came as specific subversive popular culture texts

to respond to social and cultural challenges and problems in American society. In

so doing, these discourses formed new stereotypes and maintained their

circularity in expressing differences between the dominant white area in

America‟s society and various ethnic and racial minorities.

Key words: race, hypermasculinity, infantilization, superhero comic-books,

discourse, stereotypes.

* [email protected]

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70 Z L A T K O B U K A Č

INTRODUCTION

This paper deals with the representation of race, primarily black superheroes, in

comic-book narratives. The main point of the analysis is how something seemingly

contradictive, as infantilization and hypermasculinity, makes a pivotal aspect in the

discursive process of including racial difference in primarily masculine and white

superhero area. Furthermore, the portrayal of the black body in relation to these

discursive processes and its dependence on American national identity will be

presented. The notion of national identity is substantial in this kind of discussion. It

enables a further understanding of how exactly race is consequently excluded through

the processes that seemingly include racial diversity in popular superhero narratives.

Stereotypes about the black male are placed in the center of rethinking the role of two

black superheroes, Luke Cage and Rage. Their origin stories are embroiled within the

context of American society primarily as a critique and reflection of its problems, but

consequently extinguished through the process of stereotyping. We approach the notion

of the black body as crucial in understanding how stereotypes about black men in

popular superhero culture are formed.

Relying on the theoretical aspect of stereotypes and representation framed by

Stuart Hall and Homi Bhabha, the issue of representing race through the specific code

of the body is divided into two main arguments: Firstly, black superheroes are presented

through hypermasculinity and infantilization that place them on the outskirts of what is

labeled as dominant national identity in the United States; Secondly, the subversive

elements identified through a close reading of stories about Luke Cage and Rage

establish new forms of stereotyping that reinforce circular stereotyping – an

impossibility of escaping specific determinants of presenting racial difference that fall

into the category of stereotyping.

REPRESENTATION OF RACE AS A PART OF THE NARRATIVITY OF THE NATION

The relationship between American identity and superheroes is covered

thoroughly in the work by Jason Dittmer entitled Captain America and the Nationalist

Superhero: Metaphors, Narratives, and Geopolitics (2013). His perspective is vital for

the discussion on superhero narratives and national identity, primarily for his discussion

of “the importance of superhero origins in connecting to and shaping national

narratives” (Dittmer, 2013, p. 64) and of “how national identity is not a taken-for-

granted „thing‟, but rather something produced (among other avenues) through

narrative, artistry, and consumption” (Dittmer, 2013, p. 124). His work also provides

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71 HYPERMASCULINITY AND INFANTILIZATION OF BLACK SUPERHEROES:

ANALYSIS OF LUKE CAGE AND RAGE ORIGIN STORIES

the basis for further research on the significance of national identity and superhero

narratives. One of the ways to continue this kind of research is by incorporating the

representation of race that is covered in some of the recent scholarly work.

For example, Black Comics: Politics of Race and Representation (2013), edited

by Sheena Howard and Ronald L. Jackson II, is a study that, through analyses by

multiple scholars, problematizes the representation of race in comic books, although

mainly relating it to many other phenomena such as film or animated adaptations with

focus on black authors and their personal experience in the comic-book industry. In his

book Superblack: American Pop Culture and Black Superheroes (2011), Adilifu Nama,

presents the most concise overview of black superheroes and their distinct archetypes.

Nama brings insight into various trends that have appeared in American popular culture

by relating these archetypes to the film industry. Rob Lendrum represents one of the

scholarly tendencies to reexamine the representation of black superhero masculinity. He

analyzed the first four black superheroes in the 1970s – Luke Cage, Black Goliath,

Brother Voodoo and The Black Panther. With their stereotypical portrayal drawn from

Blaxploitation films, Lendrum notes the inevitability in presenting black masculinity

outside the confines of gender dichotomy as well as racial relations. Black superheroes

thus function within simplistic narrative developments like white superheroes

(Lendrum, 2005, pp. 369–370). Even though there is a significant interest in African-

American experience in superhero narratives, scholarly work is still scarce when it

comes to topics of (hyper)masculinity, and especially infantilization. The analysis of

racial difference often enters the domain of stereotypes, which are, as postulated by

Homi Bhabha, premised on the dependency on a “continuous and repetitive chain of

other stereotypes” (Bhabha, 1994, p. 77).

Hypermasculinity and infantilization are seen here as part of the same chain and

intertwined within the discursive sphere of the nation. One of the most detailed works

on the subject can be found in Ronald L. Jackson‟s book Scripting the Black Masculine

Body (2006), where he overviews the importance and symbolism of the black body

through history and contextualizes it within the acts of gazing, punishing and

sexualizing as well as within the sphere of economy: “The body can be said to be

political because it, as an immediately identifiable and visible marker of difference,

accounted for the distribution of material, spatial, temporal resources” (Jackson, 2006,

p. 15). Whether it is fetishized, beaten, killed, or used as a canvas upon which hate is

poured, the black body has become one of the main foundations in the discursive

construction of American national culture. Stuart Hall sees national culture as a

discourse, a product culturally and socially constructed from various congested

discourses and powers (Hall, 1992, p. 613). This kind of approach enables us to think

about discourses about racial difference as something that has an analytical potential.

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Issues elaborated thoroughly in Jackson‟s work point to the perpetuating history of

using the black body, especially in the context of the American economy that is an

epitome of American greatness, or in other words, an essential part of the national

identity that is culturally and socially constructed.

HYPERMASCULINITY AND INFANTILIZATION – ANALYSIS OF LUKE CAGE ORIGIN

STORY

It is important to note that neither Luke Cage nor Rage are the only and first

black superheroes/antiheroes in comic-book history. Many note the Black Panther and

his first appearance in Fantastic Four in this regard, as well as many other characters

besides Luke Cage and Rage that appeared in Marvel and DC comic book universe. The

analysis presented here uses these two superheroes as examples of the most dominant

discourses regarding race and American identity that are prevalent in superhero comic-

book narratives.

The first issue of Luke Cage, written by Archie Goodwin, was published in 1972,

containing a critique of the American judicial and jail system as well as police brutality.

The cover of the first issue notes this by its visual inscription around the image of the

new black superhero Luke Cage. Placed in the center of the cover, Luke is portrayed

alongside various social symbols. His body equipped with a giant chain instead of a

regular belt and silver accessories on his forehead and his wrist, in yellow stylized

clothes from which the black body jumps out in the chest area, enunciates the rage Luke

has and is compatible with the red, shadowy background that connotes his past and

present, the surroundings within which he is contextualized. Through this illustration,

we can see what makes the body of “a superhero […] yet unlike any other before him”

(Goodwin, Romita & Tuska, 1972, p. 2). That body is additionally emphasized by a

second layer of red background filled with cards, dice, night bars, and women, alluding

to an area of various illegal acts such as gambling, striptease, and prostitution. These

images gradually disappear from the right side of the cover to the left, and are replaced

with the portrayal of two white police officers and one black prisoner. The prisoner is

lying on the ground, presumably due to the violence committed by the policemen, with

one of them still bent on hurting him. The policeman‟s hyperbolized left fist marks a

superior position to the smaller black hands The positioning of Luke Cage in the center

of the cover connotes his superior, heroic position that symbolically defies policemen‟s

violence. The cover announces “The sensational Origin issue” (Goodwin et al., 1972, p.

1), leaving out what exactly is sensational about it. By carefully reading the first issue, it

can be concluded that its sensational aspect can be two-fold. The first element is the fact

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that the cover states that Luke Cage is a “Hero for Hire” (Goodwin et al., 1972: 1). He is

presented as someone who charges his services, unlike other superheroes who save and

help people just because it is the right thing to do. The second element is the black body

that connotes a dirty past and criminality. On the cover, Luke Cage‟s body is placed in

the oxymoronic situation of being a prisoner and a superhero. This placement makes a

case for the body as a political area, as something that cannot be clearly labeled as

heroic – it is a part of the process of Othering. As Hall (1992) and Bhabha (1994) note,

the process of Othering is significant in establishing stereotypical notions based on

creating a difference. Othering entails labeling someone as a liability and a threat. That

someone is a social and cultural construct that needs to be managed, extinguished or

represented as something on the outskirts of wanted identity formation (in this case,

national identity formation). In short, Luke Cage is (some sort) of a hero, but he is

sensational because he belongs in the area of the Other.

Goodwin1 portrayed the character of Luke Cage as full of anger, primarily

because he was wrongfully jailed, and because of the police brutality he experienced in

jail. Due to his inferiority, he ends up as a test rat and gains power through an accidental

experiment. He breaks out of jail, living as a fugitive, only back home in Harlem,

helping people. In these first issues, Cage is often portrayed without his shirt,

enunciating his muscles and physical performance. For example, in the first frame in

which Cage gets his powers, we see him naked, aggressive, and angry. These elements

are evidence of his sexualization reminiscent of similar discourses found in

Blaxploitation movies.2 The black body is used here as an apparatus of differentiating

black superheroes from other (already established) images of superhero characters.

Luke is encrypted with elements of hypermasculine and objectified body that mirror the

already established stereotypical style from the movies.

The story of wrongful incarceration and corrupt police officers is one of the main

themes in the first issue that enables the reading of these topics as a critique of the

juridical system in America. In 1972, during the upheaval of many social protests and

discussions about racism within the official bodies of the nation, Goodwin chose to

present Luke‟s origin story intertwined with social injustices that were a common theme

in the public sphere. To present someone like Luke Cage as a superhero can be

1 It should be noted that the first issues were penciled by George Tuska and inked by Billy

Graham and they were also credited as co-creators of Luke Cage, together with Archie Goodwin

and John Romita Sr.

2 For more on this subject, see Lendrum (2005).

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interpreted as subversive. Nevertheless, what is interesting in Luke Cage‟s stories is that

the subversiveness gets obtruded by hypermasculine and sexualized aspects of his

narratives. Goodwin‟s Luke Cage is trying to survive and earn some money with his

superpowers, but the authors decided to concentrate on his body and his aggressiveness

and use his body as a canvas upon which various stereotypical portrayals of black

people in popular culture are drawn. Such an approach to his body serves as a kind of

record, an inscription of the construct that was imposed on black characters in popular

fiction.

Masculinity as a discourse enabled one more way of looking at race as

transforming the male body into a sexualized one, something that was previously

encrypted in the female body and now applied primarily to the passivized black body

(Nixon, as cited in Hall, 1997, p. 293). If we use Sean Nixon‟s point about masculinity

on a general level (and general level includes primarily whiteness), we can analyze how

it is different when race comes into the equation. Enforcing the discourse about

masculinity with competitiveness, aggressiveness, and coldness turns masculinity into

something bigger, stronger, “hyper”, when it is applied to a black body.

To explain the “hyper” effect, it is essential to point out that masculinity, in

general, was often enunciated in various superhero narratives. In the beginning, all

superheroes were visibly strong with muscles, tall, and agile in their action sequences as

well as predominately serious and composed, angry only at the right moment. However,

there was a constant lack of more explicit presentation of masculinity. Images of the

naked body, ripping off the shirt, framing scenes, or constructing the gaze were not

visible, and thus, there was no way to complement the objectification. Luke Cage, on

the other hand, was often within the signifying chain of fetishizing the black body and

fearing the black body, which compels the readers to reevaluate what it means to be a

superhero. This difference does not make him establish some new notions of perceiving

superheroes as much as he is just someone who is placed within the space of white

supremacy in comic books. Also, he is placed just outside of the center, not having the

same attributes and characteristics as other superheroes of the time. Luke Cage was a

part of a nationalized discussion about human rights and racial issues in America, but in

the end, nationalized discourse was used to place him on the outskirts, in the position of

the Other. Luke is someone who needs to be there as his fringe position is what makes

the already established whiteness in American national identity even more stable.

Infantilization in Luke Cage is not that obvious if we do not go further than his

visual depiction. However, his superpower, impenetrable skin, and superhuman strength

(that is used when he is outraged) expose the discourse of infantilization. His

impenetrable skin and strength make his powers primarily defensive, making him more

submissive than many other superheroes of that time who fly, shoot rays, have agility,

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or enhanced IQ. If we think about how infantilized a grown man can be, we must note

that infantilization is a social process, one that relies on a faulty perception of

objectivity. In that way, infantilization marks someone who is immature, dependent,

hectic, unpredictable, submissive – like a child. Luke Cage‟s tendency to ask for money

for his services, as well as his anger and objectification, signify the process of Othering.

This process is the practice of subjugation based on specific social characteristics (in

this case, race) that influences identity formation. Luke Cage‟s infantile behavior is read

as a part of his depiction, making him someone who drifts from the normalized vision

of behavior in society. In the context of racial representation, anger, unpredictability and

childish behavior are seen here as a part of the circularity of stereotypes.

Through this kind of objectification of his body, we get three racialized aspects,

which are, following Bhabha (1994), interconnected and thus form an important means

of maintaining and producing stereotypes – infantilization, aggressiveness, and sexual

objectivization. Although the narrative of black hypermasculinity and black rage is the

most significant, the origin story of Luke Cage has a specific grounding in social issues

outside fiction, such as police brutality or corrupt prison system, which offer a critique

of racial representation and racism. While white masculinity primarily entails the values

of family, economic success, and social position, black masculinity is labeled within the

process of Othering that has the potential to disrupt whiteness. However, this potential

is extinguished. Through all these discourses, Luke Cage becomes infantilized, with the

author ignoring the critique of structural violence that was the premise of his origin

story, and he ends up as a stereotype. Goodwin tried to introduce more diverse

characters into the mainstream, but there were still problems concerning his effort of

avoiding tokenism and trying new ways of inclusion (Lackaff & and Sales, 2014, p. 67).

This circular stereotyping can be seen in the 1990s when superhero Rage was

introduced.

NATIONALITY IN CONTROL – ASPECTS OF INFANTILIZATION AND

HYPERMASCULINITY IN RAGE’S ORIGIN STORY

Larry Hama, the author of the superhero Rage, created a story about a black

superhero, determined by his hypermasculinity and anger, which features narrative

strategies similar to those employed in Luke Cage. He, as well, is a victim of racism.

The origin story is portrayed through juvenile violence experienced by a kid, Elvin

Daryl Haliday, who was wrongfully accused of stealing comic books by his peers.

Accusations were based on his race, with statements from other kids such as “what‟s

one of your kind doin‟ on our street” and “I bet he stoled them comic books!” (Hama,

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Ryan & Palmer, 1990c, p. 16) Elvin gets pushed by his peers into radioactive sewer

drainage, and left for dead. He survives the dangerous chemicals and becomes a 30-

year-old strong and big African American. Due to his muscular appearance, Rage is

depicted as dangerous and aggressive. The development of the main theme of his origin

story starts with the situation where he arrives at the construction site where other

famous, already established Marvel superheroes3 work on their new headquarters. Rage

wants to join them, and throughout his somewhat aggressive request and their refusal of

his help, Rage accused Captain America and the rest of the members of racial inequality

and lack of understanding for minorities in America, claiming that they needed to

broaden their horizons and let him be part of their team. Rage‟s critique manifested in

his statement to Avengers “Now that you don‟t have any minority avengers, you start

building a fancy mansion in the middle of a ritzy, lily-white neighborhood” (Hama et

al., 1990a, p. 9) can be understood as an explicit critique of the white terrain that

superheroes perpetuate and, in that way, mirror the American nation. What makes this

event interesting is the mode of reconciliation that is depicted through the rest of the

story. Reconciliation erases any kind of subversiveness (or, at least, of critique) Hama

wanted to portray. He included race as one of the main elements of Rage‟s story, and

that kind of theme implies how it is difficult to function without the theme of racism.

Racism, or aspects that imply racist tendencies are portrayed in other characters that

interact with Rage. Bhabha notes that race as a signifier is often fixed within racism. He

elaborates this by stating that racism can be portrayed implicitly, through discrimination

that is authorized by the process of innocence (Bhabha, 1994, pp. 75, 80). Innocence is

presented within the dominant white milieu of Captain America and the rest of the

Avengers in the scenes in which they talk to Rage, in the middle of the terrain for new

Avengers headquarters in the rich neighborhood. Avengers constantly point out that

they are not scared of him because of his race but because they do not know him (Hama

et al., 1990a, p. 9). By authorizing their reluctance to cooperate with Rage, they are

authorizing and rationalizing discrimination. This is further developed in Captain

America‟s tendency to settle the differences that Rage ignited. Difference cannot avoid

being visible, but reconciliation is the part where differences become truly dividing.

Rage (with his powerful, muscular physique) is constantly aggressive and cynical, as he

reacts childishly to Captain America‟s attempts to make him realize that he must act in a

specific way if he wants to be a part of the superhero conglomerate. Rage is treated like

3 Captain America, Scarlet Witch, Iron Man, and others, who form a special superhero

conglomerate called Avengers.

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a child by Captain America, the most evident presenter of American national identity,4

as he talks to Rage about manners and controlling his anger. Captain America‟s naivety,

his faith in truth, justice, and the American way, is one of the main characteristics that

embody their differences and place Rage in the realm of infantilization. An example of

this is when Rage tries to help Captain America in an ongoing fight against villains.

Rage is forced to go to the place of the battle by subway transit, which places him in the

social frame of the lower class and distinguishes him from other superheroes who fly,

wreck trucks and cars, or fly in a jet to get to the destination. Hama implies that he is

aware of Rage‟s placement by making Rage comment that this situation in which he

chases the subway is “degrading” (Hama et al., 1990b, p. 12). Hama presents a scene

where Rage enters the subway with Captain America (who also does not have the ability

of flight or super speed, and is narratively justifiably present to monitor Rage) and

shocks people in a wagon, especially an elderly woman who is relieved only when she

sees Captain America walking into the wagon after Rage. The aim of the author was

quite clear, to comment on the dichotomy and double standards based on people‟s

judgment of someone‟s appearance. Racial profiling is included as an important aspect

of this judgment. In these scenes, Rage is fixed within the stereotypical circle of

aggressiveness and infantilization, as someone who needs to be taught as if he were a

child and needs supervision and protection from the reactions of people that Captain

America presents.

After the dramatic battle with the villains, Captain America cannot disagree with

Rage‟s willingness to be a hero, and yet he makes Rage “an Avenger on probation”

(Hama et al., 1990b, p. 17). Rage's search for membership through Captain America‟s

decision profiles the role of white manager that has to control potential memberships.

Also, tensions between Rage and the rest of the Avengers members serves as an

allegory of real tensions in the public regarding racial issues. Narrativity of the nation

(that Captain America is a part of) symbolically depicts racial difference portrayed in

Rage as something manageable and controllable. The possibility to tame Rage with the

promise of entering the dominant sphere of superheroism (that serves as an allegory of

whiteness) is an important element in managing difference in American society. At the

moment when he is presented to the public as a new Avenger, Rage states that “the

change has to come from within. If the Avengers want to give a chance to change them,

then I don‟t care what their motivations are” (Hama et. al., 1990d, p. 19). In that way,

Hama perpetuates the discourse of acceptance of difference by the possibility of

reconciliation that is not further developed as much as it is controlled and tamed.

4 More on the topic of Captain America and national identity can be seen in: Dittmer (2013).

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Through this narrative that Captain America and Rage share, Rage‟s formidable body

and infantilization are understood as something that can be managed, cultivated,

something that Rage can overcome with time, through socialization during the

probation period. This inclusion again reproduces and creates new discursive forms that

we can embed within the racial stereotype.

Rage‟s origin story is a story about an infantilized black superhero determined

by his hypermasculinity and anger. Later, Rage stories were scarce, never gaining

popularity and recognition like some other superheroes who were different from the

established white male heterosexual milieu. Ignored by many scholars, as well as fans

and comic-book readers, Rage is nonetheless a valuable artifact, not to be forgotten in

analyses that try to contextualize, explain, and determine the past, present, and future of

black superheroes in American comic-book narratives.

CONCLUSION

The visual and narrative investigation of two black superheroes, Rage and Luke

Cage, provides insights into the representation of American national identity and the

role the black body and stereotypes related to the black body have in popular superhero

culture. The main argument was based on the circularity of stereotypes and the

impossibility of escaping the process of Othering in the narrativity of the nation,

narrativity that discursively relies on excluding and managing differences.

Luke Cage was an epitome of public yearning for a black superhero within the

Marvel pantheon. Goodwin presented a story with a significant critique of social and

political problems in American society, but within it, Luke Cage was not able to escape

some of the codes of labeling differences, such as rage, hypermasculinity, and

infantilization. As anger was already an established trope of black characters in popular

culture, hypermasculinity was one of the aspects that only started to develop in popular

culture, primarily through Blaxploitation movies, which Luke Cage helped to reinforce.

Infantilization is an additional analytical element here, presented primarily through

Luke Cage‟s inability to control anger, talk, and act in a specific way that is more

mature. One of the most evident examples is his portrayal of heroism, which is

determined by Luke wanting to be paid by the people he helps. This analysis pointed

out how the aspect of the infantilization of black characters is connected to other

stereotypical aspects and how it is embedded in the process of Othering that is

detrimental to portraying difference in American superhero narratives. To present the

black character as a superhero, the narrative often employs the dichotomy between

superhero and antihero. Black superhero is differentiated from other superheroes,

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making him a deviation, anomaly, and/or something that can be controlled and tamed,

but is often portrayed as a liability. The seemingly convoluted depiction of these

stereotypes is empowered by Homi Bhabha‟s work in postcolonial theory, primarily his

notion that stereotypes work in an interconnected way. Many of them coexist in the

discursive forming of the race, and the nation. This coexistence and entanglement is a

feature that provides discursive sustainability of stereotypes, and it makes an essential

part of securing the already established American national identity that is primarily

formed based on the notion that white American milieu is still in the position of

economic and cultural power.

This kind of discourse which approaches racial difference by enunciating body

and infantility was circulated 20 years later with new writers and new superhero Rage.

The dynamics between being an anti-hero and a superhero transferred to Rage. His story

combines stories of tolerance and acceptance of difference that is perceived as

dangerous and complicated, but also controllable, by the dominant white sphere. The

relation between Rage and Captain America, as well as between Luke Cage and the

police, symbolizes the relation between black minorities and the public sphere, always

intertwined in a dialectic of acceptance/tolerance and prejudices on various basis. The

circumstances around the black body in America are (and were) characterized by police

brutality and a continually growing list of wrongfully injured and killed black men and

women. Luke Cage and Rage mark the difference as “The marking of „difference‟ is

thus the basis of that symbolic order which we call culture” (Hall, 1997, p. 236).

Without difference, there would not be a representation of a unified American identity.

Difference is needed to maintain the fiction and false objectivity of stable and

prosperous American society that different social events, protests and injustices in the

American public sphere consistently call into question. The black body is an essential

element within the representation theory that influences the image of perfect America

and is manifested in the acts of the introduction of racial difference and diversity in the

popular culture landscape. These origin stories mirror the culture that produces them,

but can as well create new ways of noting difference, new areas of critique. However,

these new areas, as the analysis in this paper tried to point out, is consequently in danger

of falling short of changing the way how difference is accepted and portrayed. Marvel‟s

past and future comic-book narratives should be read in that way – how they document

the reality in American and other societies, and how exactly they create new spaces and

new stories that criticize racism. In so doing, authors and readers need to be wary of the

danger of falling into already established, repetitive discursive (stereotypical) forms of

dealing with race and ethnicity.

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REFERENCES

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Dittmer, J. (2013). Captain America and the nationalist hero: Metaphors, narratives,

and geopolitics. Philadelphia: Temple University Press.

Goodwin, A., Romita, J. Sr. & Tuska, G. (1972). Luke Cage Hero for Hire 1. New

York: Marvel.

Hall, S. (1992). The Question of Cultural Identity. In S. Hall, D. Held, D. Hubert & K.

Thompson (Eds.) Modernity: An Introduction to Modern Societies (596–632). Wiley-

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Hall, S. (1997). The Spectacle of the "Other". In S. Hall, (Ed.) Representation: Cultural

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Howard, S., & Jackson II, R. L. (Eds.). (2013). Black comics: Politics of race and

representation. London: Bloomsbury Academic.

Jackson, R. L. (2006). Scripting the black masculine body. New York: SUNY Press.

Lackaff, D., & Sales, M. (2014). Black comics and social media economics: New

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Comics Politics of Race and Representation (65–79). London: Bloomsbury Publishing.

Lendrum, R. (2005). The super black macho, one Baaad Mutha: Black superhero

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Nama, A. (2011). Super black: American pop culture and black superheroes. Austin:

University of Texas Press.

ZLATKO BUKAĈ

HIPERMASKULINITET I INFANTILIZACIJA CRNIH SUPERJUNAKA:

ANALIZA PRIĈA POSTANKA LUKE CAGEA I RAGEA

Saţetak: Rad prikazuje odnos reprezentacije rase i ameriĉke popularne kulture. To ĉini

kroz analizu dva superjunaka i njihovih narativa u stripu, koji su usko povezani sa

kritikom tadašnjeg stanja stereotipiziranja manjina u ameriĉkoj popularnoj kulturi.

Analizirajući takozvane priĉe postanka, superjunaka Luke Cagea iz 70ih godina, i

Ragea iz 90tih godina, rad prikazuje narativne elemente u kojima je razliĉitost prikazana

prvenstveno preko diskurza hipermaskuliniteta, infantilizacije i bijesa. Zakljuĉuje se

kako je takva strategija prikazivanja utjecala na cijeli splet dodatnih diskurzivnih

formacija koje i dalje jasno odvajaju razliĉitost od dominantne bijele heteroseksualne

patrijarhije kojom je obiljeţena ameriĉka popularna kultura, ali i ameriĉko društvo.

Kljuĉne rijeĉi: infantilizacija, hipermuškost, reprezentacija, rasa, superjunaci,

stereotipi, vizualna analiza, diskurzivna analiza.




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82


DOI: 10.5937/reci1912082M

UDC: 821.111(73).09-31 Delilo D.

Marija S. Mišić

Univerzitet u Beogradu

Filološki fakultet

DELILOV BODI ARTIST, SMRT EGA – ROĐENJE

UMETNOSTI

Saţetak: Bodi artist [The Body Artist] predstavlja delimiĉan istup autora Dona

DeLila iz tema masovne kulture i medija ka reprezentaciji individue. Iako tako

ne deluje na prvi pogled, DeLilo se i u ovom delu ipak bavi postmodernim

motivima, kao što su otuĊenje, fluidni identitet i subjektivno vreme. I pored toga,

tematski i formalni izraz u Bodi artistu je modernistiĉki jer ima „ĉoveka u

središtu priĉe“ – njegove rituale, patnju i unutrašnji ţivot. Cilj ovog rada je da

prikaţe elemente promena u formi i sadrţini DeLilovog opusa, kao i da analizira

osnovne motive njegovog modernistiĉkog prvenca Bodi artist. Glavne motive

analizirali smo u ĉetiri segmenta ovog rada: Postmoderna i ĉovek u središtu

priĉe, Postmoderni protok vremena, Smrt ega i raĊanje umetnosti i Umetnost i

(re)produkcija.

Kljuĉne reĉi: Don DeLilo, Bodi artist, postmoderna, performans, smrt ega, ego

regresija u sluţbi umetnosti, produkcija, masovna reprodukcija.

[email protected]

Ovaj rad se delimiĉno zasniva na završnom radu za potrebe predmeta Savremeni američki

roman (Univerzitet u Beogradu, Filološki fakultet, 2016).

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83 DELILOV BODI ARTIST, SMRT EGA – ROĐENJE UMETNOSTI

UVOD

Ime Dona DeLila [Don DeLillo] gotovo nuţno asocira na knjiţevnost koja se

bavi aktuelnim i angaţovanim temama, ĉiji je narativ ispleten oko nuklearnog oruţja,

teroristiĉnih napada ili malverzacija velikih kompanija. Sve do Bodi artista. Kritiĉari

poput Filipa Nela [Philip Nel] i Marka Ostina [Mark Osteen] bili su hitri da DeLila

oznaĉe kao „modernistu povratnika“, koji je priĉu stavio ispred forme (Nel, 2002, str.

736).1 U DeLilovom Bodi artistu, naime, više se ne mogu pronaći teme poput onih o

oruţju masovnog uništenja. Daleko manje su zastupljene i teme poput popularne

globalizacije, potrošaĉkog društva i tehnološkog napretka. Od postmodernih idejnih

koncepata u Bodi artistu preostali su samo još motivi preklapanja istine i fikcije,

postmodernog tretmana identiteta i osamljivanja u modernom društvu. Sam DeLilo je to

objasnio slobodom koju pripovedaĉi fikcije imaju, da koristeći istorijske ĉinjenice kao

polazište, stvore svet istorijske metafikcije (Matić, 2014, str. 10). Ono što, dakle,

DeLilova prethodna dela u najvećoj meri razlikuje od Bodi artista jeste oĉigledni

zaokret od spolja ka unutra – od oruţja masovne destrukcije ka unutrašnjem doţivljaju

smrti.

Roman Bodi artist je priĉa o Loren Hartke, umetnici peformansa. Ona se

udaljava od sistema podrške kako bi sama, bez pomoći zajednice, pronašla naĉin da

preţivi smrt supruga Reja Roblesa. Ona pred našim oĉima ponire u sebe, a u

sopstvenom jezgru nalazi izvor kreativnosti. Taj postupak individualizacije je

neophodan kako bi se stvorilo nešto novo. Nasuprot njemu stoje motivi produkcije i

masovne reprodukcije. Umetnica Hartke odluĉuje da ne ovekoveĉi svoj performans,

ukazujući na to da je vaţno biti u trenutku, kao i na to da nije sve na prodaju.

Metamorfoza i poniranje u sebe jesu svojevrsna smrt njenog ranijeg sopstva –

preduslovi za raĊanje nove umetnosti.

U Bodi artistu mogu se sagledati ĉetiri postmoderna motiva, kojima u ovom radu

posvećujemo posebnu paţnju. Prvi motiv je čovek u središtu priče, koji implicira da je

fokus na unutrašnjem ţivotu likova, odnosno na njihovom subjektivnom osećaju za

vreme, okruţenje, smrt i stvaranje. Drugi je subjektivno vreme koje podrazumeva da je

perspektiva razliĉitih likova u njihovim meĊuljudskim odnosima, kao i u njihovom

sagledavanju unutrašnjeg bića – razliĉita. Treći je uslovno shvaćeni motiv smrti ega kao

1 “In saying that DeLillo is reverting to „modernism‟, I do not mean to suggest that modernism is

without a political dimension. I mean, instead, to suggest that the kind of modernism to which

DeLillo has moved appears to be the modernism cannonized by academics in the 1950s – a

modernism of form” (Nel, 2002, str. 736).

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84 M A R I J A S . M I Š I Ć

preduslov za raĊanje umetnosti. Taj motiv je snaţno obeleţio ovo delo, jer je njemu

posvećen glavni tok radnje i pripovedaĉki obrt. Loren Hartke, naime, nadilazi sopstvenu

egzistenciju koristeći metod hipnotiĉkog ulaska u ulogu svog supruga, a svojim

performansom uopštava liĉno iskustvo ĉineći ga univerzalnim. Ĉetvrti motiv je pitanje

odnosa umetnosti i (re)produkcije. Taj motiv nas vraća u svet sadašnjice, koju kreiraju

mediji i profit. Bekstvo od tog sveta, autor nam predoĉava, jedini je naĉin povratka sebi

i – raĎanja umetnosti.

POSTMODERNA I ČOVEK U SREDIŠTU PRIČE

Don DeLilo je ĉesto koristio aktuelne i nasilne istorijske dogaĊaje kao

scenografiju svojih romana. Radnju je stavljao u kontekst stvarnih istorijskih dogaĊaja,

ne beţeći ni od njihovih posledica. Uzroĉno-poslediĉne epiloge pronašao je u

kompleksnim temama poput pada „Bliznakinja”, hemijskih akcidenata i nuklearnih

katastrofa ili uspona velikih multinacionalnih korporacija, koje su, po njegovim reĉima

u Gardijanu – „postale vaţnije od nekih vlada“ (DeLillo, 2001, str. 1).2 Moţe se

zakljuĉiti da je „isticanje vaţnosti istorijskog konteksta u cilju što boljeg razumevanja

ţivota pojedinca, ono što DeLila svrstava u postmoderniste” (Matić, 2014, str. 15).

DeLilo ostaje postmodernista po motivima, iako postaje modernista po formi izlaganja

(Nel, 2002, str. 737).3

I pored toga što je svaki ĉitalac oĉekivao još jedno DeLilovo istraţivanje

„politike i nasilja“, on to u Bodi artistu nije pronašao. Ipak, to delo na mnogo naĉina

„nosi DeLilov peĉat“ (Osteen, 2005, p. 64).4 DeLilova preokupacija i dalje je motiv

velikih sistema koji poseduju pojedinca koji uzaludno pokušava da se od njih udalji i

odbrani svoju privatnost. Ta borba je u ovom delu prikazana simboliĉno, kroz konfliktni

2 “In the past decade the surge of capital markets has dominated discourse and shaped global

consciousness. Multinational corporations have come to seem more vital and influential than

governments.” (DeLillo, 2001, str. 1)

3 “The plays and novels after White Noise continue to address the concerns of postmodernity, but

their forms move towards modernism.” (Nel, 2002, str. 737)

4 “In many respects, however, the novel clearly bears DeLillo's stamp: though shorter and more

elliptical than his recent work, it revisits two of his most significant themes. The first concems the

range and perils of privacy.” (Osteen, 2005, str. 64)

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motiv ,,ponašanja i performansa“ (Osteen, 2005, p. 64).5 I pored toga, ne treba olako

prihvatiti da je DeLilo odustao od priĉanja priĉe i iscrpeo temu ameriĉkog sna. Pre bi se

moglo reći da je on, kao i svaki virtuoz, samo promenio ruho u koje je odenuo svoju

tvorevinu. Saĉuvao je elemente postmoderne u vidu subjektivnog vremena i teme

fluidnog identiteta.

Kada govorimo o zaokretu od spoljašnjeg ka unutrašnjem ţivotu pojedinca,

svojevrsnom „okretaju zavrtnja“,6 bitno je naglasiti da DeLilo nikada nije pisao, poput

nekih postmodernista, izvan čoveka. Sve teme koje je obraĊivao jesu bile društveno

angaţovane, ali je on nastojao da u njima zadrţi ĉoveka u sedištu priĉe. Više nego

ijednom drugom ameriĉkom piscu, njemu je uspevalo da kroz individualno iskustvo

doĉara opšti koncept. U nekim DeLilovim delima, poput Bele buke [White Noise] i

Kosmopolisa [Cosmopolis], na primer, pisac je zabrinut zbog neodrţivosti ameriĉkog

sna iz perspektive pojedinca. Opsesija gomilanjem stvari i materijalnim dovela je do

toga da likovi knjige Bela buka nisu prepoznali trenutak kada se struktura njihove

porodice promenila i kada je njihovo poimanje spoljašnjeg sveta postalo simulacija

ţivota – ne ţivot pun dogaĊaja, već ĉekaonica za smrt (pa porodiĉno ĉekaju na

nuklearnu katastrofu umesto da ţive svoje ţivote). Sliĉnu ulogu imaju i postupci

glavnog junaka DeLilovog dela Kosmopolis, Erika Parkera. Iako ţivi ameriĉki san i

poseduje sve što se moţe kupiti, on neprestalno ,,hrli u prošlost“ (Paunović, 2007, str.

158).7 Rituali iz prošlosti vraćaju ga korenima, odnosno sebi, dok je neopipljivi novac

sa berze, od koga ţivi, deo simulakruma8 njegove sadašnjosti.

Fokus ranijih romana bio je i na strahu od kataklizme koji je destruktivno uticao

na unutrašnje ţivote DeLilovih junaka, dok u Bodi artistu taj strah ne prevazilazi

egzistenciju individue. Štaviše, njegov krajnji ishod je preinaĉenje smrti individue u

pozitivni rezultat za ĉoveĉanstvo – kroz umetnost i lepo. Kako bi pronašla naĉin da

5 “The second and more significant theme concerns the nature of identity, and the permeable

membrane between behavior and performance.” (Osteen, 2005, str. 64)

6 Igra reĉima odnosi se na delo Henrija Dţejmsa Okretaj zavrtnja [The Turn of the Screw], danas

već simbol za inovativnu upotrebu unutrašnjeg monologa.

7 „Naime, ţeleći da se podšiša baš tamo gde je odrastao, da se podšiša „u prošlosti“, DeLilo

ukazuje na to da se od korena ne moţe pobeći, i da imaginarni novac na kineskoj berzi kojim se

on „igra“ ne proizvodi nikakvu reakciju u stvarnosti“ (Paunović, 2007, str. 158).

8 Simulakrum [eng. simulacrum] je izraz koji oznaĉava simulaciju ili sliĉnost reprezentacije, ali

ne i samu stvar. Dakle, u postmoderni kod DeLila oznaĉava jednu hiperrealnost i izveštaĉenost

kodova koji simuliraju realan ţivot do mere neprepoznatljivosti originala i to putem medija i

tehnologije.

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prevaziĊe smrt supruga oko koga joj se vrteo ceo svet i kako bi na adekvatan naĉin

odgovorila na izazove spoljašnjeg sveta, Loren Hartke se povukla u sebe, da bi

internalizujući bol stvorila jedan perceptivno novi svet. Ona testira granice sopstvenog

ega i tela, dok Don DeLilo testira elemente postmodernog romana u vidu subjektivne

percepcije vremena i umetnosti.

POSTMODERNI PROTOK VREMENA – (NE)SKLAD SA SOBOM

Poĉetak romana ne ukazuje na konflikt sa kojim će nas dalji tok radnje suoĉavati.

Na prvim stranicama je prikazana samo idila braĉnog mira, ali i upadljive tišine –

„trenutak potpunog saglasja sa sobom koje će kasnije biti porušeno“ (Paunović, 2007,

str. 163). Uranjamo u svet junakinje kroz kratke, mestimiĉne dijaloge sa suprugom za

vreme doruĉka. Dan koji otpoĉinje izgleda sasvim uobiĉajeno. Supruţnici dele

predvidive pokrete i misli, i ĉini se ne ţele da gube vreme priĉajući. Razgovor u vidu

kratkih i usputnih monogloga, meĊutim, otkriva pukotine u braĉnoj idili.9 Razgovor u

vidu dijaloga, makar kako bi podelili svakodnevne informacije, meĊutim, izostaje.

Osnovni krivac za to ĉini se da je vreme, koje kao da niko ne ţeli da troši na banalni

razgovor. Poslediĉno, u njihovom odnosu kao da je nestala bliskost ljudi koji dele

svakodnevicu.10

Kao što će se kasnije ispostaviti, to svakodnevno vreme je imalo

paralelni tok sa malo dodirnih taĉaka u ţivotima supruţnika:

Naizgled, vreme prolazi. Svet se dogaĊa, odmotava se u trenutke, i tek

pokatkad zastaneš da baciš pogled na pauka pripijenog uz mreţu.

Svetlost je hitra, a stvari naokolo imaju jasne obrise, dok po zalivu

šaraju pruge nemirnog sjaja. U tako moćnom, jarkom danu posle

oluje, kada je i najmanji list u padu obodren samopouzdanjem, sa

mnogo većom izvesnošću znaš ko si. (DeLilo, 2005, str. 9)

Pisac manipuliše vremenom i koristi ga kako bi ĉitaoca ,,uvukao“ u unutrašnji

svet junaka. On ,,usporava“ vreme do nepomiĉnosti, ĉineći to opisom trenutka u kome

junakinja prebira po sopstvenim mislima. Pitanje hronološkog sleda u izlaganju

postavlja se već na poĉetku romana. Ĉitaocu ubrzo postaje jasno da će raspored

9 Rej u jednom trenutku, naizgled usputno, dodaje: „Ja sam taj, kako da kaţem, ko bi trebalo da

bude ratoboran. A ne mlada ţena koja jede i spava i ţivi veĉno.“ (DeLilo, 2005, str. 9)

10 Kada Loren moli supruga da joj saopšti šta je ţeleo da kaţe ranije, to ĉini uz vapaj: „Hajde, reci

mi, to je samo sekund“ (DeLilo, 2005, str. 9).

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vremena biti rešen na nekonvencionalan naĉin. Iz atmosfere intimnog doruĉka i

prividnog toka misli junaka, bivamo katapultirani u perspektivu novinara koji nas

informišu, vrlo ĉinjeniĉno, o tome da je Rej Robles pronaĊen u stanu svoje prve supruge

i da je sebi oduzeo ţivot. Sa te, hronološki, nulte taĉke, već u sledećem momentu

„ulazimo“ u „dan beo i obavijen izmaglicom“ (DeLilo, 2005, str. 33), koji, meĊutim,

moţe biti bilo koji dan pre ili posle tog dogaĊaja.

Don DeLilo, prema tome, na poĉetku romana pribegava tehnici ,,filmske

kamere“. On stvara kod ĉitalaca osećaj da je sve dopušteno, da su pozvani da uĊu u

misli junaka, ali i nagoveštava da treba da budu oprezni, jer likovi nisu na ĉvrstim

nogama i ni sami ne znaju šta im se dešava. U potrazi za trenutkom kada je sve pošlo

naopako, i istovremenim preispitivanjem ispravnosti svojih odluka, junakinja

,,premotava film“ u svojoj glavi. Ona pokušava da se priseti poslednjeg trenutka kada je

bila srećna. To je, meĊutim, samo trenutak, pre nego što će joj postati jasno da je veoma

malo znala o svom suprugu, i da ţali što nije više cenila vreme provedeno sa njim.

DeLilo uspeva da ukaţe na to da, iako istovremeno, vreme sasvim razliĉito

protiĉe iz perspektive dvoje ljudi – zbog ĉega je ono paralelno. Dok je Loren u

sadašnjem trenutku u savršenoj simbiozi sa sobom i svetom (kakva je sebi u sećanjima

na taj period), ne primećuje da Rej ima drugaĉiji doţivljaj njihovog odnosa, kao i uopšte

sopstvenog ţivota. Ĉak i kada on kaţe da se brije „da bi m[u] Bog video bradu“, ili da

treba da preţivi „uţas još jednog obiĉnog dana“ (DeLilo, 2005, str. 14), Loren ne

postavlja pitanje šta je to toliko naporno u svakodnevici, niti primećuje da se oglasio

suicidni alarm. Nakon samoubistva Reja Roblesa, ne moţemo biti sigurni da li je on

zaista mislio ono što je govorio svojoj supruzi. Da li joj on prebacuje kada joj kaţe da se

njoj sve dopada i da sve voli, da je ona njegov srećni dom (DeLilo, 2005, str. 17)?11

Konaĉno, zašto Rej podiţe ruku na sebe u domu svoje prve supruge, a ne u njihovom

domu? Kao da je za njega nesklad sa suprugom postao neizdrţiv, kao da se njegovo

vreme naporne svakodnevice nezadrţivo ubrzalo.

Subjektivna percepcija vremena je jedan od najvaţnijih DeLilovih metoda za

usporavanje ili ubrzavanje radnje, a njegova svrha je doĉaravanje ,,iscepkanosti

memorije“ pod uticajem bola, šoka i traume.12

Motivi tuge, nedostajanja i usamljenosti

su ukomponovani u glavni tok radnje, kao vremenski kanali u formi prisećanja –

,,trenutaka sa Rejem“ (DeLilo, 2005, str. 50). Ti trenuci su ,,odseĉci vremena koji su se

11 „Tebi se sve dopada – ti sve voliš. Ti si moj srećni dom.“ (DeLilo, 2005, str. 17)

12 „Nije znala koliko je vremena provela tu. Moţda priliĉno dugo. Kiša je snaţno udarala o krov i

haubu. Koliko vremena je dugo? To se moţe shvatiti i ovako i onako.” (DeLilo, 2005, str. 52)

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ulivali u sveopšte vreme“ (DeLilo, 2005, str. 50).13

DeLilo poistovećuje subjektivnost

vremena i unutrašnji osećaj protoka vremena. Dok bol parališe i prividno zaustavlja ceo

ţivot osobi koja pati, ostalima vreme protiĉe drugaĉije:

Sve je usporeno i magliĉasto i sasušeno, a reĉ izgledati je u središtu

svega što se dogaĊa. Svi automobili, ukljuĉujući i tvoj izgledaju kao

da plove u nepovezanim kretnjama, odaju utisak ili deluju na odreĊeni

naĉin, a put juri dalje uz belo zujanje. A onda to raspoloţenje nestane.

Vraćaju se buka i zamagljenost i ti kliziš natrag u svoj ţivot, s bolnim

bremenom na grudima. (DeLilo, 2005, str. 33)

Postmodernistiĉki tretman vremena podrazumeva subjektivan protok vremena u

odnosu na onaj linearnog toka. Razliĉite dimenzije temporalnosti su neophodne za

doĉaravanje radnje jer i sama svest „zahteva kretanje koje nije rigidno“, već poseduje

slobodu kretanja napred-nazad, „mešanja prošlosti, sadašnjosti i zamišljene budućnosti“

(Humphrey, 1954, str. 50).14

Kao što retko postoji pravolinijsko dešavanje u

postmodernoj knjiţevnosti, isto tako je simultan i doţivljaj vremena za više likova jedna

od vaţnih knjiţevnih tehnika koja to prikazuje. Na istoj stranici romana prepliću se

sećanja na prošlost i sadašnji trenuci sa budućim ĉeţnjama, tako da ĉitalac ni u jednom

momentu ne moţe sa sigurnošću da tvrdi – da li se nešto zaista dogodilo. Jezikom

postmoderne, Don DeLilo moţda nije idejni tvorac simulakre, ali sigurno jeste jedan od

najboljih tkaĉa „sna kao stvarnosti“ u romanima.15

DeLilo (2005, str. 100) sam kaţe:

„Prošlost, sadašnjost i budućnost nisu odlike jezika. Vreme se razmotava u šavove

postojanja. Ono proţima ĉoveka, stvara ga i oblikuje“.

Pored tretmana vremena, DeLilo uvodi u roman i ,,objektivnu perspektivu

trećeg“, ĉija uloga nije samo u tome da osvetli perspektivu nepristrasnog posmatraĉa.

Uloga trećeg je i u tome da ukaţe na neumitni protok vremena i njegovo dugo trajanje,

uprkos tome što protagonisti pokušavaju da se u njemu ,,izgube“ ili transportuju unazad.

13 Junakinja se prisećala „trenutaka sa Rejom, zapravo ne trenutaka već odseĉaka vremena, ili

trenutaka koji su se ulivali u sveopšte vreme, u erotiku pogleda i vremena, pa je jednu zgrĉenu

šaku prigrlila drugom, u telu je osećala kako joj on nedostaje i osetila je kako je seksualno i

beskonaĉno usamljena“ (DeLilo, 2005, str. 50).

14 “The quality of consciousness itself demands a movement that is not rigid clock progression. It

demands instead the freedom shifting back and forth, of intermingling past, present and imagined

future.” (Humphrey, 1954, str. 50)

15 ,,San kao stvarnost“ je naslov monografije Milice Matić koji ukazuje na specifiĉnu atmosferu u

DeLilovim romanima (2014).

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Gospodin Tatl je fantazmiĉni lik koji, u stilu „priĉe u priĉi“, moţe biti shvaćen i kao

prava liĉnost i kao imaginacija, ali svakako je neizostavni deo simulakruma u kome se

Loren Hartke nalazi. On je polunemi i polurazumni ĉovek, svedok njenog ţivota sa

suprugom u dugom prošlom vremenu. Poĉetak njihove komunikacije, stoga, zapoĉinje

njenim jednostavnim pitanjem – „Recite mi. Koliko ste dugo ovde?“ (DeLilo, 2005, str.

45).

Naime, u okviru spoljašnje priĉe, on navodno naseljava zidove i tavanski prostor

kuće Roblesovih i kao svojevrsni diktafon prati razgovore izmeĊu supruţnika kroz

vreme. Ali, u okviru unutrašnje priĉe, moţemo ga interpretirati i kao trik uma

pomućenog bolom i proizvod podsvesti jedne umetnice. DeLilo ostavlja ĉitaocu da

zakljuĉi da li je gospodin Tatl psihološki mehanizam za pridobijanje informacija kod

hipersenzibilne, uveţbane umetniĉke imaginacije. Prividno ili stvarno, Hartke od

gospodina Tatla pokušava da dobije odgovore objektivnog posmatraĉa, iako ih taj

ĉovek, oĉigledno oslabljenih ili makar promenljivih intelektualnih kapaciteta, ne moţe

dati. UvoĊenje fantazmiĉnog lika gospodina Tatla dozvoljava DeLilu da poveţe

prošlost, sadašnjost i budućnost – i stvori ,,vremenski vakuum“, jer je on navodno sve

vreme bio prisutan i moţe baciti svetlo na nešto što je ona propustila.

Opet, gospodin Tatl svedoĉi o nemogućnosti jednog istinitog pogleda, jedne

istine u bilo kom smislu, jer i da zamislimo da je on svedoĉio svim dogaĊajima, on ih ne

moţe smisleno reprodukovati niti im dati znaĉenje jer je napisan kao neko ko ne koristi

jezik sa internalizovanim znaĉenjem, već samo kao simulaciju razgovora. Dakle

ponavlja, ne razume.

TakoĊe, jedna od glavnih odlika romana toka svesti jeste specifiĉno poimanje

vremena u kome se reflektuju odjeci svesti junaka. Suštinski, ovi romani ukljuĉuju

protok vremena gde se na spoljašnjem planu kroz analizu radnje ukazuje na razlikost

protoka vremena na unutrašnjem, vaţnijem planu. Razmatrajući ovaj problem u

psihološki subjektivnim romanima, Leon Edel [Leon Edel] primećuje da svest ne moţe

da se povinuje hronološkom (spoljašnjem) ili mehaniĉkom planu, već da se ĉitavi naši

ţivoti ţive svevremeno, subjektivno i iznutra, kao jedna pesniĉka slika (1962, str. 131–

132).

Polazeći od toga, DeLilo koristi lik gospodina Tatla kao medijum koji

,,proţivljava“ razgovore supruţnika iznova – u sadašnjosti, ne bi li razotkrio stanje

Rejeve svesti i njegov ugao posmatranja pre smrti. „Nije to bilo opštenje sa

pokojnikom. Bio je to ţivi Rej u razgovoru koji je vodio sa njom, u ovoj prostoriji,

nedugo nakon njihovog doseljenja“ (DeLilo, 2005, str. 52). Jasno je od poĉetka da ovaj

nezvani gost nema više kognitivne funkcije da shvati vremenske koncepte. U razgovoru

sa Loren, on kaţe:

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„Ali nisi otišla.“

„Otići ću. Kroz nekoliko nedelja. Kad doĊe vreme.“

[...]

„Ali ne ideš“, reĉe on. (DeLilo, 2005, str. 50)

Knjiţevni lik limitiranih kapaciteta sa posebnim trbuhozboraĉkim talentom je dosta

konvencionalno rešenje za prikaz vremena, ali majstorski izvedeno. Dakle, podseća na

foknerovska rešenja kao i rešenja Henrija Dţejmsa [Henry James] koji je izjavio da

nema pripovesti bez „budala“ (Edel, 1962, str. 45).

Gospodina Tatl je DeLilov postmoderni eho, element koji ukazuje na to da nema

spoznaje iz spoljašnje perspektive, i samim time knjiţevno je rešenje za jaĉanje

subjektivnosti. Njegova uloga je da subverzivno ukaţe na to da ne postoji jedan protok

vremena i jedna istina, već svako ţivi svoju, neotuĊivu i neobjašnjivu istinu, jedino

integrisanu introspekcijom. I konaĉno, gospodin Tatl nas uvodi i u temu nestabilnosti

identiteta, budući da se percepcija sopstvenog identiteta menja u zavisnosti od uloga

koje igramo u tuĊim ţivotima, ali i naše percepcije.

SMRT EGA – ROĐENJE UMETNOSTI

Performans je umetniĉki izraz kojim je razrešen psihološki konflikt Loren

Hartke. Pored umetniĉkog performansa, meĊutim, postoji i kulturalni performans, ĉiji

su elementi takoĊe ugraĊeni u postmodernu strukturu ovog romana. Kulturalni

performans podrazumeva spektar najraznolikijih ponašanja usmerenih na „druge“,

poput onih koje predstavljaju porodiĉne, društvene i religiozne uloge i rituale (Jovićević

i Vujanović, 2006, str. 58). Kulturalni performans predstavlja i uveţbano ponašanje,

artificijalno i ritualno, kao što je naĉin da se ,,procesuira bol“ u skladu sa pojmovima o

ţalosti u odreĊenim kulturama. U tom kontekstu, umetnica Hartke je neko ko odbija

saradnju i uz pomoć uveţbanih tehnika umetniĉkog performansa uranja u sebe, u potrazi

za rešenjima koja su liĉna, a ne usmerena ka „drugome“.

Zato jedan od kljuĉnih motiva Bodi artista jeste motiv samootuĎenja. Posle

otuĊenja koje je pojedincu nametnulo društvo bombardovano reklamama, porukama i

društvenim mreţama, DeLilo nas uvodi u sledeći stadijum – samonametnutog otuĎenja.

Nakon samoubistva supruga, naime, Loren Hartke se izoluje u vikendici u kojoj su njih

dvoje proveli njegove poslednje dane. Ona se upušta u razgovore sa sobom i sa

fantazmiĉnim likom preminulog supruga, koga poput trbuhozborca vraća u ţivot lik

gospodina Tatla. Loren Hartke, dalje, preuzima glas i perspektivu svog supruga Reja, da

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bi se konaĉno vratila u svoje telo i povratila svoj glas. Na ovaj naĉin, DeLilo je u fokus

pored teme smrti stavio temu preţivljavanja smrti drage osobe. Kulturalni performans

hipersenzibilnoj osobi ne donosi olakšanje, a postmodernistiĉki kontekst podrazumeva

da ona pribegava subjektivnom rešenju u vidu umetniĉkog performansa.

DeLilo smešta Loren Hartke u hibernaciju samonametnute izolacije. Kako

primećuje Erving Gofman [Erving Goffman] „biti ono što jesmo […] podrazumeva

ponašati se na nereprezentativan naĉin“ (navedeno u: Jovićević i Vujanović, 2006, str.

58), nikako ne preuzimati nametnutu društvenu ulogu, već stvoriti novu po svojoj meri.

Kada prijatelji zovu Loren telefonom, ona ih odbija, jer ne nalazi utehu u obiĉajnim

društvenim ritualima. Ona bira da samuje kako bi se posvetila tugovanju. Distancira se

od prijatelja iz spoljašnjeg sveta i posvećuje se, najpre, promišljanju. Zbog toga što je za

savremenog ĉoveka ,,Bog mrtav“, smatra DeLilo, post-niĉeovske generacije ne

pronalaze mir u konvencionalnim vrednostima. I pored toga, imaju potrebu da nešto

oboţavaju, da u nešto veruju ili makar da nešto hipnotiĉki posmatraju. Tu na scenu

stupa tehnologija, kojoj se DeLilova junakinja okreće kao prema ,,novom boţanstvu“.

Tehnologiji je pisac u ovom delu dodelio pozitivnu ulogu, zaĉudo, budući da je

ĉešće bio sklon tome da pronalazi primere destruktivnih posledica u kontaktu ĉoveka i

tehnologije. Gledajući snimke sa kamera na kojima su prikazani saobraćaj i prolaznici u

nekim udaljenim gradovima, Loren Hartke uspeva da pronaĊe utehu. Njeno

,,prizemljenje“ joj otkriva da se ţivot nastavlja, i da u nekom smislu postoji ţivot posle

smrti, da subjektivni dogaĊaj nije zaustavio objektivnu stvarnost i da to što se njoj

dešava nije najvaţnije na svetu. TakoĊe, sluţi se koncentracijom da blokira spoljašnje

uticaje, da pokuša da se vrati i bude u trenutku, a ne u prošlosti:

Provodila je sate pred ekranom raĉunara gledajući video-snimak,

uţivo sa nekog dvosmernog puta, u jednom gradu u Finskoj. […] To

joj je bilo zanimljivo zato što se dešavalo u tom trenutku, dok je ona

tu sedela, i zato što se dešavalo dvadeset ĉetiri ĉasa na dan, bez lica,

automobili su ulazili u Kotku i izlazili iz nje, a u periodima mrtvila

video se samo prazan put. (DeLilo, 2005, str. 39)

DeLilova Loren Hartke, meĊutim, ide i korak dalje. Ona se distancira ne samo

od uloge društva, već i od sopstvene uloge oţalošćene supruge. Preuzimajući

perspektivu svog supruga, ona ţeli da pronikne u razlog zbog ĉega je odluĉio da sebi

oduzme ţivot. Kao „konceptualna umetnica koja pokušava da se oslobodi tela – makar

svog sopstvenog“ (DeLilo, 2005, str. 106), ona lebdi izmeĊu svetova – svog i njegovog.

Zato kaţemo, uslovno, za potrebe ovog teksta, da kod nje dolazi do smrti ega. I sam

DeLilo objašnjava to stanje netipiĉne aktivnosti – „plan joj se svodio na to da nekako

organizuje vreme, dok ne poĉne ponovo da ţivi” (DeLilo, 2005, str. 38).

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Imajući u vidu da se ĉitava teorija pozitivne psihologije danas zasniva na ideji da

umetnici u stanju flou-a [eng. flow]16

mogu provesti neodreĊeno vreme pokušavaći da

završe svoj „proizvod”, a da isto tako mogu zanemarivati telesne potrebe poput gladi i

ţeĊi sve dok ne završe projekat, moţemo reći da se takvo stanje uoĉava kod Loren

Hartke. Naša je polazna pretpostavka da u umetnosti performansa, performer koristi

svoje telo i kao subjekat i kao objekat radnje koju predoĉava. Dakle, um uĉestvuje u

idejnom razvoju nekog projekta, kao i u analizi uspešnosti, a sve to proizilazi iz super-

ega i ega. Tada je telo subjekat. Zatim, kako je id performer, na neki naĉin „dete koje se

igra“, umetnik performansa mora „ukloniti“ realistiĉni ego, kao i kritiĉki super-ego

makar za vreme trajanja flou stanja. Tada telo predstavlja objekat koji izvodi,

otelotvoruje ideju. Nakon završetka projekta, super-ego se moţe vratiti na scenu da

dodeli sud o uspešnosti, a ego da primi pohvale i pokude.

Odnos ega i ida u procesu stvaranja, meĊutim, razliĉito je viĊen u razliĉitim

psihološkim teorijama. Jedna od interpretacija je, na primer, definicija ega kao sluge

„ĉak tri surova gospodara“ – stvarnosti, ida i super-ega u psihoanalizi (Trebješanin,

2018, str. 151). Suprotno tome, u ego psihologiji kao izdanku psihoanalize koja se

zasniva na Frojdovom poznijem radu o funkcijama ega, isto kod Trebješanina,

nailazimo na teoriju da su ego i id ravnopravni, dakle ego nije izdanak ida i ne duguje

mu (nagonsku) poslušnost (Trebješanin, 2018, str. 152). Ta druga definicija bliţa je

našoj osnovnoj pretpostavci, da ego moţe ((polu)voljno) prepustiti idu prevlast u

procesu umetniĉkog stvaranja, kako bi uopšte došlo do oslobaĊanja kreativnosti.

Jedan od teoretiĉara ego psihologije vaţan za razumevanje procesa umetniĉkog

stvaranja je i Ernst Kris [Ernst Kris]. Kroz istraţivanje psihologije umetnika, došao je

do zakljuĉka da je suština umetnosti vezana za sublimaciju, katarzu i regresiju u sluţbi

Ja (ili ega) (Kris, 1970, str. 323). I kod Danijel Knafo [Danielle Knafo] pronalazimo

interesovanje za stvaralaštvo i „regresiju u sluţbi ega u umetnosti“ (2002, str. 24). Poput

Krisa, ona smatra da je regresija na neko infantilnije stanje, koje podrazumeva

oslobaĊanje ida – neophodna, i šta više, adaptivna i korisna kako bi se kreativnost

oslobodila za stvaranje neĉeg novog, a ne samo za repliciranje neĉeg postojećeg (Knafo,

2002, str. 24–29).

16 “Studying the creative process in 1960s (Getzels & Csikszentmihalyi, 1976), Csikszentmihalyi

was struck by the fact that when work on a painting was going well, the artist persisted single-

mindedly, disregarding hunger fatigue and discomfort – yet rapidly lost intrest in the artistic

creation when the work was done.” (Nakamura & Csikszentmihalyi, str. 89)

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Instiktivni odgovor Loren Hartke na gubitak, tugu i nedostajanje jeste

samovoljna izolacija kao udaljavanje od svog ega i svoje realnosti. Samoizolacija,

meĊutim, nije za nju konaĉni cilj, već samo sredstvo. U samoizolaciji će Loren Hartke

moći sebi da priušti da reaguje na naĉin koji je njoj svojstven – kao bodi artist. Svojim

telom ona preuzima manirizme svog supruga, pa ĉak i glas i stavove. Ona „koristi svoje

telo kao estetski alat, poput slikara koji koristi boje, platno i ĉetke“ (Bonca, 2002, str.

63).17

U krajnjoj liniji, na taj naĉin postiţe da se u trenutku „ponovo poveţe sa svojim

telom“ (Bonca, 2002, str. 63). „Njene pripreme“ podrazumevaju „radikalno i doslovno

raslojavanje sebe” (Bonca, 2002, str. 65).18

Ono što ona radi je ,,uništenje psihiĉkih i

fiziĉkih barijera koje sopstvo podiţe pred svetom, kako bi se zaštitilo od smrtnosti koju

ne moţe niti da prihvati niti da joj utekne“ (Bonca, 2002, str. 65).

Bez prisustva ţivog i diskurzivnog tela nema umetnosti performansa. Umetnici

performansa teţe „transformaciji svog tela i emotivnog sopstva ovde-i-sada“ (Jovićević

i Vujanović, 2006, str. 197). Prema nekim kritiĉarima centralna tema Bodi artista

predstavljena je u fluidnosti identiteta. Hartke je „isterala“ tugu iz svog tela, kroz

umetnost kao neku vrstu „egzorcizma“ (Osteen, 2005, str. 77–78).19

Ona je na taj naĉin

osvestila protok vremena u svom telu i metamorfozu koju je proţivela. Radikalni

performansi samopovreĊivanja se i bave, recimo, proĉišćujućim uĉinkom ritualizovane

boli na „anestetizovano društvo“ (Jovićević i Vujanović, 2006, str. 199).

Identitet Loren Hartke se promenio od vremena kada je bila supruga do vremena

kada je postala udovica. Ona nije ista osoba posle taĉke preokreta – trenutka Rejeve

smrti. U metamorfozi njene liĉnosti ili fluidnom identitetu sadrţan je postmoderni

pristup ovoj temi. Naglašava se princip stalne interakcije, kojom se individua menja.

Igrajući uloge u svakodnevnom ţivotu – majke, supruge, ovakve ili onakve umetnice,

dolazimo do teorije da je identitet fluidan jer zavisi od promene ţivotnih okolnosti, ne

17 “Since she is a „body artist‟ – a performance artist who uses all the aspects of her body as

aesthetic tools, the way a painter would use paint, canvas, brushes – Karen‟s first inclination in

the days following Ray‟s death is to reconnect with her body” (Bonca, 2002, str. 63). Napomena:

Karen je Loren Hartke, Bonka njeno ime pogrešno navodi u celom radu.

18 “Her preparations take a form which will be familiar to DeLillo readers: they involve a radical

and literal stripping down of the self, a systematic divestment of those phychic and physical

barriers which the self raises against the world in order to protect itself from a mortality it can

neither accept nor escape” (Bonca, 2002, str. 65).

19 “We are never quite lost. It follows that consciousness is not a narrative, or even a dialogue, but

an echo chamber, a room we share with the chorus of all the living and the dead. For DeLillo the

highest expression of this music of time is an art that is at once a mode of possession-a

sophisticated brand of magic or ventriloquism-and an act of exorcism.” (Osteen, 2005, str. 78)

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samo od volje ili izbora, što je tvrdila i Dţudit Batler [Judith Butler] (navedeno u:

Jovićević i Vujanović, 2006, str. 205). „Subjekat izvodi svoj identitet, ali ne potpuno

slobodno“ (Jovićević i Vujanović, 2006, str. 204), tako što bira izmeĊu individualnih

scenarija na zadatu temu.

Promenljivost identiteta dodatno je olakšana uz pomoć tehnologije, samim time

plastiĉne operacije, izmišljeni identiteti na internetu i ĉeste promene poslova uz pomoć

društvenih mreţa omogućuju samotransformaciju i igranje identitetom. Umetnik

performansa ukazuje na promene u društvu kroz sebe kao „umetniĉko delo“ (Jovićević i

Vujanović, 2006, str. 197). DeLilo razotkriva tu stvaralaĉku moć tragedije ili bilo koje

druge negativne pojave i ukazuje na isceljenje koje dolazi kroz sećanje, rad i umetnost

(Nel, 2002, str. 753).20

Uranjanjem u sebe i metamorfozom koja se raĊa iz smrti, Loren

Hartke stvara umetnost, a DeLilo otvara temu – ponovnog roĊenja kroz stvaralaštvo.

Kao umetnik, Loren Hartke je medijum koji patnju moţe da uobliĉi u nešto izuzetno i

svrsishodno, kao što je umetniĉko delo. Subjektivnost se na taj naĉin zadrţava, ali i

transformiše.

DeLilov prikaz procesa nastajanja performansa moţe se dovesti u vezu sa idejom

postdramskog tela. Taj koncept se odnosi na razotkrivanje procesa nastajanja neke

izvedbe, ĉime se delimiĉno ukida lepo i estetsko, tj. iluzorno u umetnosti. Citirajući

Lehmana [Hans-Thies Lehmann], Aleksandra Jovićević i Ana Vujanović objašnjavaju

da postdramsko pozorište pokazuje telo kao lepo, ali istovremo razotkriva da je lepo

proisteklo iz nasilja drila (2006, str. 208). Taj proces opisuje DeLilo:

Imala je neku stvarĉicu koju je stavljala u usta, oštru alatku, malenu,

plastiĉnu, koju je pritiskala uz donji deo jezika i strugala talog koji se

tu mogao zadrţati, mešavinu hrane, sluzi i bakterija. / Nije to bilo

odbrana od prirodnog delovanja tela. Bilo je to nešto što je ona

jednostavno ĉinila. / Sraĉunala je sve svoje neophodne potrebe. A

onda ih je premašila. Dovela je u pitanje njihovu praktiĉnost. To se

moralo uĉiniti. Bilo je nuţno promeniti pojavni lik, sve do samog

jezika. Potiskivala je nešto, zatvarala sve prilaze vlastitom biću, sve

do taloga u dnu jezika, skrivenog od ljudskih oĉiju. Duh je to nalagao

telu. / To je bilo neophodno zato što je ona osećala da mora to da

uĉini. Zato je bilo neophodno. (2005, str. 98)

20 “The Body Artist expresses the hope through poetry because poetry slows down time, and

slowness is intimately connected with the act of remembering.” (Nel, 2002, str. 753)

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UMETNOST I (RE)PRODUKCIJA

Za ovaj DeLilov roman karakteristiĉan je i motiv koji se tiĉe šireg problemskog

koncepta – odnosa umetnosti i njoj suprotstavljenih motiva – masovnih medija,

reklame, proizvoda i profita. U fokus je postavio pitanje kakav je odnos pojedinca i

umetnosti prema tim pojavama, sastavnim delovima svakodnevnog ţivota. Odbijanje

Loren Hartke da široj javnosti predstavi svoj proizvod, tj. da u medijima reklamira

predstavu do koje je došla putem preţivljavanja smrti supruga, moţemo shvatiti kao deo

problemskog pitanja o odnosu privatnog i javnog, odnosno originala i industrijske

proizvodnje. Smatra se da je DeLilo uvideo da se „spas mora traţiti u umetnosti“ (Nel,

2002, str. 757), a ona je nešto originalno i neponovljivo – iskustvo, a ne proizvod.21

U

srţi performansa stoji da „svako ponovljeno ponašanje/izvedba/predstava/izloţba/ će

uvek pruţiti nova iskustva gledanja, jer će biti viĊena posredstvom novog programa i

uslovljena savremenim sistemima“ (Jovićević i Vujanović, 2006, str. 16).

Loren Hartke je oliĉenje umetnika, koji sopstveno telo kao resurs koristi za

stvaranje umetnosti. „Umetnost preuzima svet na koji reaguje, prelama ga, a zatim ga

vraća kao iznova presloţeno telo“ (Osteen, 2005, str. 78).22

Hartke nastupa uţivo, što

onemogućuje reprodukciju. Ona koristi telo kao izraz ţelje za povratkom prirodi i

izvornom, i u krajnjoj liniji – sebi, jer ,,masovni mediji vode ka poremećaju

subjektivnih vrednosti“ (Longmuir, 2007, str. 529).23

U procesu isceljenja, put je ono

što leči umetnika od poriva, a ne cilj koji pokušava da dostigne. Stoga, Hartke ne teţi

tome da ovekoveĉi svoj performans, već samo tome da ga izvede.

Performans Telesno vreme [Body Time] je ţelja Loren Hartke da objasni bol,

isceljenje i nedostajanje nekog koga je odnela smrt. Ona, meĊutim, izvodi performans

na poseban naĉin – bez mogućnosti da njena izvedba bude zabeleţena na nekom mediju.

U toj nameri, ona ne pristaje na kompromis. Odbija da to bude ništa drugo do predstava

intimnog ĉina – performans o bolu. Dominantna masovna kultura ne treba da bude

oblak koji apsorbuje njenu umetnost i ĉini je manje liĉnom. Umetnica Hartke odbija da

21 “DeLillo's examination of truly eternal subjects-death, life, loss-rendered in his most candid

prose, suggests that salvation must be sought in art.” (Nel, 2002, str. 757)

22 “Such an art undertakes the world to which it responds, refracts it, and then gives back a newly

configured body. Such an art thus manages to be both the most authentic expression of

subjectivity and its greatest transformer. (Osteen, 2005, str. 78)

23 “Immersion in the mass media leads to a disruption of subjectivity, as Lauren finds reading the

newspaper: „you become someone else, one of the people in the story, doing dialogue of you own

devising.‟” (Longmuir, 2007, str. 529)

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uĉestvuje u tom procesu – neće se snimati i reprodukovati do izbledelosti, neće se

reklamirati i ukljuĉiti medije u performans.

Motiv umetnosti koja se izvodi i doţivljava u trenutku, a koja je oliĉena u

performansu Loren Hartke, DeLilo je suprotstavio drugom motivu, simboliĉno

oliĉenom u profesiji njenog supruga – filmskog blokbaster umetnika Reja Roblesa. Rad

Reja Roblesa „pripada u potpunosti kulturi reprodukcije u kasnom kapitalizmu“

(Longmuir, 2007, str. 532).24

Dakle, uspešnost Reja Roblesa zasniva se na holivudskom

sjaju i glamuru, dok je svako puštanje njegovih filmova moguće obaviti bez njega. Na

kapitalistiĉkom trţištu, trud koji je uloţio inicijalno omogućava mu da zaraĊuje novac

svakim ponovnim puštanjem filma (reprizom i reprodukcijom jedne iste ideje). Njegova

pozicija je potpuna suprotnost njenoj. DeLilo efikasno koristi jin-jang motiv, kako bi

ukazao na koliziju odnosa koja postoji izmeĊu supruţnika. Pisac je odnos umetnosti i

produkcije simboliĉno predstavio u braĉnom jedinstvu dvoje ljudi, naizgled sliĉnih, a

suštinski razliĉitih zanimanja.

Sukobljeni principi izmeĊu performatorske umetnice Hartke i pripadnika filmske

industrije Roblesa mogu se predstaviti i kao nesklad izmeĊu duha i tela, principa

fluidnog i statiĉnog. Ako se umetnost koristi kao komunikacijsko sredstvo, onda

„slikajte principe, ne tela, slikajte pokret, ne statiĉnost; slikajte elektrone i njihovo

kretanje, ne masu i njihov oblik [...] U tome je ĉar apstraktne umetnosti“ (Leboutillier,

1943, str. 79).25

Odbijanje da se povinuje zahtevima masovne publike ekvivalent je

odbacivanju dominantnih društvenih vrednosti, ali i svih benefita koji sa njima dolaze.

Sa druge strane, iako je Rej Robles oliĉenje savremenog društva i masovne

medijske komunikacije, on je istovremeno i oliĉenje posledica koje one imaju na

pojedinca. On se povukao ,,ne samo u prazne stranice tišine, već u samoubistvo“

(Longmuir, 2007, str. 532).26

Njegov lik se uklapa u obrazac koji DeLilo vidi kao

rešenje za oĉuvanje integriteta, a to je beg od stvarnosti koju guši dominantna kultura –

24 “In contrast, filmmaker Rey Robles represents the classic selferadicating artistic voice of

DeLillo's fiction, much like Brand in Americana, Gary Harkness in End Zone, or even Bill Gray

of Mao II. His work belongs entirely to the culture of reproduction of late capitalism […]”

(Longmuir, 2007, str. 532)

25 “If you would win the accolade of the ages, paint principles, not bodies; paint movement, not

static; paint electrons and their motion, not mass and its forms. Here is the enticement to abstract

art.” (Leboutillier, 1943, str. 79).

26 “[…] while he retreats not only into blank pages or silence, but also actually to suicide.”

(Leboutillier, 1943, str. 79)

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u tišinu. Da bi oĉuvala integritet umetnika, Loren Hartke, na sliĉan naĉin i sa samo

naizgled drugaĉjim ishodom – povlaĉi se u sebe i iz sebe (ĉitaj: iz smrti svog ega) – raĊa

umetnost.

ZAKLJUĈAK

Motivi u fokusu DeLilovog postmodernistiĉkog prvenca sa modernistiĉkim

obrtom, romana Bodi artist, okosnice su ĉetiri segmenta u ovom radu, i mogu se svesti

na ĉetiri pojednostavljene formulacije – ĉovek, vreme, smrt i umetnost. Kroz neobiĉan

tretman vremena i metamorfozu liĉnosti nakon smrti, DeLilo je ĉitaoce odveo kroz

ponore i tunele tuge, da bi glavnu junakinju, kao i nas sa njom, vratio u postmodernu

realnost – ništa nije kao pre smrti, ali ima ţivota posle smrti. Ko uopšte moţe svedoĉiti

šta je bilo pre, posle ili za vreme, kad ni vreme ne zna kada se dogodilo.

Umetnost, opet, nudi iskupljenje, ali ukoliko nije funkcionalna – tu DeLilo

povlaĉi liniju. Ne moţe se sve kupovati, prodavati i reprodukovati, jer će pre ili kasnije

nastupiti tišina. Ukoliko je konstruktivna, ta tišina moţe biti sopstveni progon u mir

umetnika. Poruka koja odjekuje je – za nešto stvarno i jedinstveno mora se dati deo

Sebe. Nešto mora umreti ili izumreti, poput ega u metafori ovog dela, kako bi ponovo

došlo do raĊanja. Simboliĉko raĊanje ideje, originalnosti i nade za svet koji ostaje, kao i

novog identiteta Loren Hartke, posledica su smrti njenog starog identiteta, oliĉenog u

smrti njenog supruga i njihovog zajedniĉkog ţivota.

Samo tako, kroz smrt ega – raĊa se umetnost – kao i nada u svrsishodnost borbe

pojedinca i ,,višeg“ sistema vrednosti protiv sistema vrednosti dominantne, masovne

kulture kod DeLila.

LITERATURA

Bonca, C. (2002). Being, Time and Death in DeLillo‟s “The Body Artist”. Pacific Coast

Philology, 37, 58–68.

DeLillo, D. (2001). In the Ruins of the Future. The Guardian. December 21, pp. 1–12.

DeLilo, D. (2005). Bodi artist. Prev. Z. Paunović. Beograd: Geopoetika.

Edel, L. (1962). Psihološki roman 1900–1950. Beograd: Kultura.

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Humphrey, R. (1954). Stream of Consciousness in the Modern Novel. Berkley:

University of California Press.

Jovićević, A. i A. Vujanović. (2006). Uvod u studije performansa. Beograd: Edicija

REĈ.

Knafo, D. (2002). Revisiting Ernst Kris‟s Concept of Regression in the Service of the

Ego in Art. Psychoanalytic Psychology, 19 (1), 24–49. DOI: 10.1037//0736-

9735.19.1.24.

Kris, Ernst. (1970). Psihoanalitička istraţivanja u umetnosti. Beograd: Kultura.

Leboutillier, C. (1943). Art as Communication. The Journal of Aesthetics and Art

Criticism, 2(8), 76–84. DOI: 10.2307/425948.

Longmuir, A. (2007). Performing the Body in Don DeLillo's “The Body Artist”.

Modern Fiction Studies, 53 (3), 538–543.

Matić, M. (2014). San kao stvarnost u romanima Dona DeLila. Beograd: Zaduţbina

Andrejević.

Nakamura, J. & M. Csikszentmihalyi. (2009). The concept of flow. In: Snyder, C. R.,

and Lopez, S. J. (Eds.). Oxford handbook of positive psychology (89–105). USA:

Oxford University Press.

Nel, P. (2002). Don De Lillo's Retum to Form: The Modemist Poetics of “The Body

Artist”. Contemporary Literature, 43 (1), 736–759.

Osteen, M. (2005). Echo Chamber: Undertaking “The Body Artist”. Studies in the

Novel, 37 (1), 64–81.

Paunović, Z. (2007). Objava broja 9/11. U: Svetlana Gavrilović (ur.), Šta čini dobru

knjigu? (str. 155–174). Beograd: Narodna biblioteka Srbije.

Trebješanin, Ţ. (2018). Rečnik psihologije. Beograd: Agape knjiga.

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MARIJA S. MIŠIĆ

DELILLO’S BODY ARTIST, EGO DEATH – ART REBORN

Summary: The Body Artist represents Don DeLillo‟s partial venturing out of the topics

of mass culture and media towards the representation of the individual. Although that

might not seem to be the case at first glance, DeLillo continues to explore postmodern

motifs, such as alienation, fluid identity and subjective time. Aside from that, the formal

and thematic expression in The Body Artist is modernist as it is focused on “the

individual at its core” – his/her rituals, suffering and inner life. This paper focuses on

demonstrating the elements of formal changes in DeLillo‟s oeuvre, as well as analysing

the major motifs of his first modernist work – The Body Artist. The main motifs have

been analysed in four segments – Postmodernism and the individual at its core,

Postmodern treatment of time, Death of the ego and art reborn, and The art of

(re)production.

Key words: Don DeLillo, The Body Artist, postmodernism, performance art, death of

the ego, regression in service of ego in art, production, mass reproduction.




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100


DOI: 10.5937/reci1912100G

UDC: 821.111.09-31 Karter A.

821.111.09:305-055.2"19"

AnĊelka M. Gemović*

University of Novi Sad


FROM CAPTIVITY TO BESTIALITY: FEMINIST

SUBVERSION OF FAIRY-TALE FEMALE CHARACTERS

IN ANGELA CARTER’S “THE TIGER’S BRIDE”

Abstract: This paper elaborates on Angela Carter‟s subversion of the fairy-tale

genre in the tale from The Bloody Chamber and Other Stories titled “The Tiger‟s

Bride”. The method of research combines researching relevant theoretical

literature and thorough text analysis. The primary concern of this paper is the

subversion of female characters in fairy tales as a means of advocating feminist

attitudes. Relevant passages are used to exemplify Carter‟s feminism, with

special reference to the subverted roles of the heroine of the tale. The female

protagonist‟s transition from being a captive to becoming a beast is analysed, and

her reinvented roles discussed and compared to the traits of the heroine from the

classic Beauty and the Beast story written by De Beaumont. This is done in order

to uncover the multilayered structure of Carter‟s work and hopefully determine

the author‟s genuine purpose in subverting the fairy-tale genre as well as the

message she wanted to convey.

Key words: beast tales, The Bloody Chamber and Other Stories, Carter‟s

feminism, Beauty and the Beast, women empowerment.

* [email protected]

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101

FROM CAPTIVITY TO BESTIALITY: FEMINIST SUBVERSION OF FAIRY-TALE FEMALE CHARACTERS IN ANGELA CARTER’S “THE TIGER’S BRIDE”

INTRODUCTION

Angela Carter was an English novelist, short story writer, poet, journalist,

professor and critic known for her feminist and nonconformist attitudes that she

deliberately conveyed throughout her work. As a writer, she is primarily recognized for

the use of magical realism as well as other prominent postmodern elements such as

fantasy, intertextuality, the use of myth and Gothic elements. However, these elements

do not serve as mere escapism. They are crucial aspects for comprehending the intended

meaning and purpose of each individual work of Angela Carter. Her work is commented

on as “the deconstruction of a form that has become appropriated by those who have a

vested interest in upholding the status quo” (Gamble, 2008, p. 27). Moreover, her work

can be seen as a tapestry of different genres and techniques that are to demonstrate the

author‟s true intentions and their fulfillment in all of her novels, especially in the last

one, Wise Children (1991). After her death in 1992, she became one of the most read,

analyzed and respected authors in England and worldwide.

Regarding the topic of the paper, Angela Carter‟s feminism must be mentioned

and elaborated on. She expresses her views on feminism in various works including

novels and short stories, most of which are rewritten or incorporate certain elements of

traditional fairy tales. Carter used her work as a means of women empowerment, as an

invitation to fight against the male dominant society and for equal rights and freedoms.

The aim of this research is to provide an analysis of a short story from The

Bloody Chamber and Other Stories titled “The Tiger‟s Bride” in order to focus on and

underline Carter‟s feminist rebellion against deeply rooted patriarchy as well as her

promotion of otherness and individuality. The analysis will be developed by comparing

this tale to the original Beauty and the Beast, written by Madame de Beaumont. It is

proposed in this paper that Carter intended to subvert the original character of Beauty

into a wild and socially alienated creature in order to discard patriarchal double

standards and express approval of, or even embrace, otherness, individuality and sexual

freedom.

On one occasion Angela Carter claimed that she is “in the demythologizing

business” (Carter, 1983, p. 74). She believed that fairy tales and myths are profoundly

established in society and tradition and that they were, and still are, used for the purpose

of politics and social “moral” (Carter, 1983, p. 74). Similar belief can be seen in the

following comment by Jack Zipes about fairy tales. He claims that they “assume mythic

status only when they resonate with the dominant ideology” (cited in Sellers, 2001, p.

13). Thus, Carter wanted to empower women by altering well-known fairy tales and

discarding their patriarchal and predominantly male attitudes. Although this intention

can be found in all of Carter‟s work, The Bloody Chamber and Other Stories is the best

representative of the subversion of the fairy-tale genre with the aim of advocating

womanhood in the society tailored by men.

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102 A N Đ E L K A M . G E M O V I Ć

All in all, this paper deals with the practical presentation of Carter‟s feminism in

“The Tiger‟s Bride”. Firstly, it discusses the concept of intertextuality and its relevance

to Carter‟s fairy tale. Secondly, fairy tales and their features, as well as Carter‟s

nonconformity regarding the genre, are presented. In addition, new, subverted and

reinvented roles of the female protagonist are addressed in order to uncover the

messages Carter wanted to convey. The conclusion is the last section of this paper

where all the relevant information found during the research is additionally highlighted

and the final thoughts on the topic provided.

INTERTEXTUALITY

Due to the correspondence between “The Tiger‟s Bride” and Beauty and the

Beast, as well as Carter‟s deliberate reference to the latter, it is rather relevant to briefly

present and define the notion of intertextuality. The term was coined by Julia Kristeva

and was first used in her essay “Word, Dialogue and Novel” in 1966. Although this

notion was not always referred to as intertextuality, a variety of philosophers and

scholars including Plato, Aristotle, Horace, Bakhtin, Barthes, Riffaterre, Genette, Allen,

Hutcheon, etc. (have) attempted to define it and elaborate on its usage. Despite the

immense contribution of all the above-mentioned theoreticians to the interpretation of

intertextuality, only several opinions are to be discussed due to the fact that

intertextuality is a secondary matter to this paper.

Relying on Bakhtin‟s dialogic imagination, Kristeva explains that a literary word

is “an intersection of textual surfaces” as well as that “each word (text) is an intersection

of other words (texts) where at least one other word (text) can be read” (1980, pp. 65–

66). She further adds that “any text is constructed as a mosaic of quotations; any text is

the absorption and transformation of another” (Kristeva, 1980, p. 66). As opposed to

this point of view, Genette (1989, pp. 10–15) discards social, political and philosophical

aspects. Instead, he focuses solely on the literary text and suggests a more complex

classification which involves five overlapping categories: intertextuality, paratextuality,

metatextuality, archetextuality, and hypertextuality. He defines hypertextuality as a

relation of the newly written text, hypertext, and the text it derives from, hypotext.

Finally, he claims that no work of art is completely independent or isolated and that all

texts refer, to a certain extent, to other texts, which proves that all texts are actually

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103


hypertextual (Genette, 1989, p. 19).1 However, it might be argued that Genette‟s

comprehension of the term hypertextuality is similar, if not completely equal, to the

notion of intertextuality. Allen (2000, p. 1) states that the process of reading is actually

an act of “moving between texts” which takes us “into a network of textual relations”

where we discover meaning(s) of a certain intended text. Namely, he claims that any

text converts into an intertext when it moves into a network of textual relations by

sharing the same meaning with other text(s) it refers or relates to. In her book, Poetics of

Postmodernism Hutcheon (2004, pp. 125–126) additionally determines the intertext as a

work of art that belongs to historical and literary archive. She claims that a text can be

neither autonomous nor original since “only as part of prior discourses” it derives the

“meaning and significance” (2004, pp. 125–126) and, consequently, becomes

comprehensive and meaningful to readers.

From all of the above, it can be concluded that intertextuality plays an essential

role in understanding the intentions of Angela Carter to subvert traditional fairy tales.

Without the previous knowledge of Beauty and the Beast one would not be able to

discover the reference to Beaumont‟s work and would, as a consequence, misinterpret

or fail to recognize the genuine intention of “The Tiger‟s Bride”. Therefore, in order to

adequately interpret the author‟s genuine motives, intended implications, and

intertextual references, their meaning and significance must be taken into account.

Different critics discussed the issue of intertextuality in Angela Carter‟s The Bloody

Chamber and Other Stories, and thus, their opinions are to be briefly presented.

In his review article “Angela Carter and the Literary Märchen” Benson explores

the use of intertextuality in this collection of stories. He claims that the “reason for

viewing The Bloody Chamber as paradigmatic is that it stages the processes of

intertextuality in the distilled form” (1998, p. 27). Hence, all the fairy-tale elements that

Carter considered unnecessary and flawed were altered or even eliminated until the

“distilled” version was achieved. Furthermore, in her meticulous study of what lies

behind these rewritings, Bacchilega referred to Carter‟s work as a “metafolkloric or

archeological project” (1997, p. 124) due to its tight relation (but also firm opposition)

to folk narratives, their morals and the paradigm they subsume. When comparing Carter

to her fellow rewriters, Rose states that “Sexton is an analyst of fairy tales and their

cultural implications, while Broumas is an improviser, using the tales as a base for

imaginative speculation. Carter is both” (1983, p. 222). Makinen comments on Carter‟s

1“[N]o hay obra literaria que, en algún grado y según las lecturas, no evoque otra, y, en

este sentido, todas las obras son hipertextuales” (Genette, 1989, p. 19)

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subversions which she describes as an “ironic deconstructive technique” as well as “an

oscillation that is itself deconstructive” (1992, p. 5). She adds that “Carter‟s tales do not

simply „rewrite‟ the old tales by fixing roles of active sexuality for their female

protagonists – they „re-write‟ them by playing with and upon (if not preying upon) the

earlier misogynistic version” (1992, p. 5). Bacchilega sees the process of fairy-tale

rewriting as consisting of two layers. On one hand, it tends to highlight “the fairy tale‟s

complicity with „exhausted‟ narrative and gender ideologies” (1997, p. 50) while, on the

other, it promotes the variety of perspectives to discover those elements that “the

institutionalization of such tales for children has forgotten or left unexploited” (1997, p.

50). The process of fairy-tale institutionalization led to common anticipation that they

are actually, as Benson puts it, “self-apparent truth” (1998, p. 36). As a response, Carter

subverts and creates intertextual references with the aim of questioning, and

consequently neutralizing, the conventional narratives. McLaughlin regards the

rewriting of fairy tales as a repetition prone to changes where a source narrative is

transformed into its “uncanny return” (1995, p. 419), a story that reveals the genuine

truth of the repressed and thus precisely uncovers the actual history. Kaiser advocates

that Carter‟s use of intertextuality can be regarded as an act of moving “the tales from

the mythic timelessness of the fairy tale to specific cultural moments, each of which

presents a different problem in gender relations and sexuality” (cited in Benson, 1998,

p. 37).

FAIRY-TALE GENRE

In order to discuss Angela Carter‟s feminism in the given story, it is necessary

to determine the very term of fairy tale and its original form and content. The term

comes from a literal translation of the French term “conte de fées”. Fairy tales

represent a shared experience of a certain culture and have been collected and recorded

in order to pass wisdom, history and moral lessons to children. However, initially, they

were not told to children due to the fact that these stories involved horrors of difficult

life and “symbolical and secular contents that (could) and might have given and still

give children „wild ideas‟ that their lives need not conform to the governing roles of

society” (Zipes, 2006, p. 11). Gradually, fairy tales began being considered dangerous

by religious and political groups and thus, with the rise of the middle class in 17th

-

century Europe and North America, they were altered and adapted in order to

strengthen the dominance of religious and political systems. This is when moral codes

were installed in fairy tales written by François Fénelon, Sarah Fielding, Madame

Leprince de Beaumont and later Charles Perrault, Madame d‟Aulnoy and Brothers

Grimm (Zipes, 2006, p. 11).

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Steadily, these lessons and moral instructions became increasingly captivating

and amusing and they delivered a great number of subliminal messages, attitudes, and

opinions that gradually shaped the whole society. Fairy tales are full of stereotypes,

conventional behaviors, characters, symbols, events, and plots. Moreover, they

essentially deal with and include marvelous occurrences, shape-shifting, monsters,

murder and, more importantly, clear representations of good and evil, pure and

wicked, beautiful and ugly, wealthy and poor, etc. There is no grey zone between good

and evil; the borderline is strictly drawn. In addition, the good always wins and the

evil is punished. Furthermore, they almost exclusively involve a happily-ever-after

pattern and certain stereotypical characters such as the wicked mother/stepmother,

poor and innocent girl, envious stepsister, tempting Devil, etc.

Marina Warner (1995, p. 16) uses the term fairy tale to denote all those stories

that have throughout oral tradition been called so, even if they do not have any fairy or

magical features. She proposes that these supernatural features are irrelevant in

comparison to the moral function of the fairy tales. She claims that “more than the

presence of fairies, the moral function, the imagined antiquity and oral anonymity of

the ultimate source, and the happy ending” (Warner, 1995, p. 17) define the genre of

fairy tales.

The shape-shifting trait of fairy tales should be taken into consideration when

discussing them and their relation to Angela Carter‟s The Bloody Chamber and Other

Stories. Shape-shifting elements are frequently found in fairy tales such as a pumpkin

that changes into a carriage, a frog that changes into a prince after a kiss, a beast that

turns into a handsome prince due to the kindness and love of a poor but honest girl,

etc. Such a shape-shifting component can often be found in Carter‟s stories including

“The Tiger‟s Bride”.

The Bloody Chamber and Other Stories might be a product of Carter‟s close

contact with the fairy-tale genre in the process of translating Charles Perrault‟s work

into English. This collection of stories is seen as an adaptation of classical fairy tales

meant to empower women and grant them the role of active heroines instead of

passive observers. Thus, Carter‟s intention is to break the paradigm of fairy tales that

emphasize sexual disparity and patriarchal double standards related to desire. Bryant

recognizes the genre of fairy tales as “seductively familiar” (1989, p. 439) since its

narratives constantly follow the same scheme while successfully concealing an

“inherent binarism of desire” (1989, p. 439); as such, it opposes to, or even forbids,

any possibility of characters‟ personal, individual accounts. The same author addresses

Lauretis, who claims that Western culture and its fiction were established on the

narrative paradigm of the myth of Oedipus (Bryant, 1989, p. 440). According to

Lauretis, all fairy tales involve an element of “a transformation predicated on the

figure of a hero, the mythic subject” (cited in Bryant, 1989, p. 440). As it is obvious

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from the word “hero”, this type of character is restricted to men while the women are

always considered secondary, peripheral, prevented from obtaining the central role in

any story. Female characters in traditional fairy tales are, as mentioned, usually rigidly

sorted in one of the following categories: a poor young and innocent girl, an evil old

hag, a righteous and careful queen mother and a sly stepsister. For her kindness and

good heart, a poor young girl always deserves the prince and wealth in the end.

Therefore, female characters have always been provided with a predetermined

behaviour which strictly involves either docility, purity, and sacrifice that eventually

lead to “happily ever after”, or certain undesirable traits such as selfishness, sexual

freedom or greed, which can result in being burned in an oven, stoned to death,

punished to wear red-hot iron shoes, etc.

Since Carter advocated individuality and otherness, it can be concluded that she

was both provoked by and drawn to these tales. By subverting, questioning and

ironizing the old stories, Carter provides a change of perspectives offered in traditional

fairy tales and proposes liberation and different point of view depicted in The Bloody

Chamber and Other Stories. She is known to have supported sexual liberation in

women and therefore her heroines are strong-willed, intelligent and cunning characters

who are often ready to enjoy as well as use their sexuality in order to progress in life.

Regarding sexuality, this aspect of female characters was always omitted in fairy tales

since they were meant to improve and influence children‟s moral, whereas sex was

considered immoral. However, Carter changes these elements and introduces erotic

events, sexual pleasures, and descriptions similar to pornographic content. Wild,

animal instincts and sexual desires are especially noticeable in “The Tiger‟s Bride”

alongside an exotic beast, a tiger, as one of the main characters. It is possible that

Carter cared to depict suppressed, shaming and dark urges in human beings. The

female protagonist is not hopelessly romantic and passive. Rather, she feels

animalistic, raw lust which often drives her against her own will.

SUBVERSION OF FEMALE CHARACTERS IN “THE TIGER’S BRIDE”

As mentioned before, Madame de Beaumont‟s Beauty and the Beast served as an

inspiration for Angela Carter‟s subversion tales “The Courtship of Mr Lyon” and “The

Tiger‟s Bride”. Although both stories explore the nature of men and women, their

relationship, as well as the notions of civilization, society, patriarchy, and wilderness,

this paper will only elaborate on “The Tiger‟s Bride” since I would argue it bluntly and

precisely portrays Carter‟s feminist attitudes.

In Beauty and the Beast, the woman is seen as the one who tames and civilizes

the man. Beauty makes a decision to save her father and move to the Beast‟s castle.

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Although it seems like an individual decision, she completely relies and depends on her

father and feels under obligation to do so. Regardless of the reason for her decision,

Beauty in the original story is terrified and repelled by the Beast. “The monster asked

her if she had come of her own free will and, trembling, she replied that she had” (De

Beaumont, 1999, p. 37). Gradually, Beauty‟s kindness helps the Beast discover his own.

He becomes more sophisticated and noble in her presence and even gives her gifts as a

sign of affection. The Beast imitates Beauty‟s behavior and kindness and thus she

civilizes and “improves” him. When she refuses to marry him by gently explaining that

she respects their friendship, he repays her courtesy with allowing her to see her dying

father “I would rather die myself than cause you pain. I will send you back to your

father” (De Beaumont, 1999, p. 39). The moral of the story is that her generosity,

kindness, and sacrifice taught the Beast to become a better person and were rewarded

with good fortune and a happily-ever-after ending.

Therefore, it is obvious that Beauty manages to tame the Beast. At the beginning

of the story, he is ready to murder the girl‟s father; he is demanding, violent and

controlling. He also ceaselessly asks Beauty to become his wife although she has

rejected his offer several times. Towards the end of the story, she accepts to marry him

and states that “it is too bad he is so ugly, for he is so kind” (De, Beaumont, 1999, p.

38). It can be concluded that she lacks sexual attraction for him but passively agrees to

marry him because of his character since that is what humble, modest, well-behaved

girls do. The girl marries in conformity with her kindness and sympathy for the Beast.

She thinks to herself: “Aren‟t I terrible for causing grief to someone who has done so

much to please me?” (De Beaumont, 1999, p. 40). However, their relationship is

“founded on virtue” (De Beaumont, 1999, p. 42), not on bestial, sexual attraction and

thus she is, in the end, rewarded with his transformation into a handsome prince. He

acquired her passivity and dependence while he patiently waited for her to come back,

which freed him of his animal form and turned him into a man. This fairy tale serves as

a lesson to children, especially female ones, to be patient, submissive, understanding,

gentle and kind regardless of circumstances because such behavior will eventually be

compensated.

The original story depicts an extremely strong bond between Beauty and her

father. Rowe (1979) claims that their bond might be such due to the lack of an evil

stepmother who competes with the daughter for father‟s love. Also, the author

speculates that these circumstances could cause a young girl to develop certain feelings

for her father:

The tale suppresses intimations of incest; nevertheless, it symbolizes the

potent, sometimes problematic oedipal dependency of young girls. Complementary to

the natural mother‟s role [...] the natural father‟s example of desirable masculine

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behavior likewise shapes her dreams of a savior and encourages the heroine‟ s later

commitment to the prince. (Rowe, 1979, p. 244)

Moreover, in the original story, Beauty insists on saving her father by willingly

and independently committing herself to the service of the Beast. However, it must be

taken into account that, as the story develops, she becomes more and more subordinate

to his will and loses her genuine independence. Rowe explains that:

The Beast‟s transformation rewards Beauty for embracing traditional female virtues.

She has obligingly reformed sexual reluctance into self-sacrifice to redeem the Beast

from death. She trades her independent selfhood for subordination. She garners social

and moral plaudits by acquiescing to this marriage. (Rowe, 1979, p. 244)

Another essential, yet striking element from the original Beauty and the Beast is

related to the very name of the girl. Since she has always been graceful and appealing,

as a young girl she was named Little Beauty which points to the faulty standards of a

patriarchal society where a woman‟s identity is tightly related to her appearance.

However, Carter deliberately chooses not to name her female heroine in “The Tiger‟s

Bride”. Rather, she refers to her as “the girl” or “the young lady” and thus avoids sexual

references associated with the name Beauty. On the contrary, she is “carving out her

own life-story, and in resisting the story which literary and cultural traditions have

patterned for her, her narrative becomes an alternative model for the female subject‟s

desire” (Bryant, 1989, p. 448).

In “The Tiger‟s Bride”, an influential change and advancement of the main

female character are noticeable. Beauty‟s father is a gambler who loses her in a card

game to an exotic being, the Beast. The creature defeats the father and takes all the

material possessions he had. Once the father is left with nothing, the Beast proposes to

him to gamble on “the girl” (Carter, 1979, p. 54). Careless as well as desperate, the

father decides to gamble on his daughter. From the very beginning, the reader is aware

that the girl is passive and dependent on her father and male figures in general. As

Bernhardt (2019, p. 48) observes, unlike the original Beauty, Carter‟s heroine

recognizes her father‟s flaws and blames him for the situation she finds herself in.

Although she accepts to repay the debt, the same author suggests that she does not do so

out of a sense of obligation but rather because she is able to comprehend the way the

poverty could affect her in the male-dominated society.

Regarding her new “owner”, the Beast, it must be emphasized that he is not a

prince turned into an animal but rather a genuine animal, “a great, feline, tawny shape”

(Carter, 1979, p. 56). He essentially remains a tiger even though he wears a mask with a

human face as well as luxurious clothes and exquisite perfumes. He tries to fit into

civilization but the readers soon become aware that despite his efforts, he only has a

bestial, wild side. He does not feel human and thus he does not follow typical

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patriarchal procedures like asking for Beauty‟s hand. However, he does send a bunch of

white roses “as if a fit of flowers would reconcile a woman to any humiliation” (Carter,

1979, p. 55). Firstly, white roses imply an intertextual connection to the traditional fairy

tale. Secondly, this sentence denotes Carter‟s feminist attitude since Beauty in her story

is sarcastic and she parodies a patriarchal perspective. She sees flowers as a gift which

only allegedly hides the Beast‟s real intentions. Unlike her mother, the girl rejects to be

objectified and passed from one man to another. She considers herself similar to the

white rose, “unnatural, out of season” (Carter, 1979, p. 53) and thus rejects consenting

to patriarchal principles of courtesy. In addition, the act of ripping the rose apart “petal

by petal” might reflect her own process of self-discovery, especially in terms of

independence, dominancy, and sexuality. When asked to leave one white rose to her

father as a sign of forgiveness, she pricks her finger and lets it bleed over the rose as a

symbol of defloration aiming at causing remorse and guilt rather than granting pardon.

Carter deliberately emphasizes the contrast between this heroine and two other heroines,

the one from the original Beauty and the Beast and the heroine from “The Courtship of

Mr Lyon”, who both passively accept their fates and do not show any sign of

humiliation or disapproval. The father in “The Tiger‟s Bride” betrays and objectifies his

daughter, which transforms her into a sarcastic persona who shows no fear when she

comments on the tiger:

[M]y senses were increasingly troubled of the fuddling perfume of

Milord; there was a crude clumsiness about his outlines; and he has an

odd air of self-imposed restraint; he wears a mask with a man‟s face

painted most beautifully on it. (Carter, 1979, p. 53)

The girl decides to take advantage of the situation and claims that her “own skin

was her sole capital in the world” and that it was time she had made her first

“investment” (Carter, 1979, p. 56). Once she is finally summoned to meet the tiger, she

dismisses all the teachings about being well-behaved and obedient. Instead, she listens

to her inner self, her id, and consequently, she bursts out laughing. The girl claims: “I

let out a raucous guffaw; no young lady laughs like that! But I do. And I did.” (Carter,

1979, p. 58). Moreover, she offers to have sexual intercourse with the tiger if he is

willing to pay for her the service as if she were a prostitute. By suggesting such a deal,

she rejects her father‟s fortune and background and shows that she is independent of

male dominance as well as capable of making her own money and sustaining herself. In

doing so, she would become equal to men as well as self-sufficient and sovereign. She

further emphasizes the vulgarity of the whole situation in order to embarrass the tiger.

Since the tiger is obviously affected by her humiliation and he might feel remorse for

his actions as well as shame for his appearance and bestiality, he sheds a tear, a sign of

weakness characteristic of human beings rather than animals. However, the girl

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becomes even angrier and more explicit. After being asked to denude and show “the

sight of the young lady‟s skin that no man has seen before” (Carter, 1979, p. 61), she

replies: “I wished I‟d rolled in the hay with every lad on my father‟s farm, to disqualify

myself from this humiliating bargain. That he should want so little was the reason why I

could no give it; I did not need to speak for the Beast to understand me” (Carter, 1979,

p. 61).

Similarly to the original tale, the Beast is in control at the beginning of the story,

he owns her, while she is repelled by his ridiculous appearance. The kindness typical of

Beaumont‟s Beauty is purposefully rewritten as “a willingness to accept the animal” in

the tiger as well as “the privileging of the girl‟s own desire, itself an aspect of human

animality” (Webb & Hopcroft, 2017, p. 320) in a society which forbids even the thought

of such behavior and considers it rebellious and abnormal. As opposed to the original

Beauty, who is merely polite and docile, Carter‟s protagonist realizes that the

acceptance of the animal in herself is not just “utility but also commodity” (Webb &

Hopcroft, 2017, p. 320). Hence, as Carter‟s Beauty ceases to be frightened, although

still a captive, the Beast gradually loses his dominance over her. Contrary to De

Beaumont‟s version, Beauty in Carter‟s tale becomes almost immediately sexually

attracted to the Beast. She does not intend to civilize him but is eager to discover more

about his beastly side. It might be concluded that the girl expects and secretly longs for

different, more intimate request from the Beast than to simply denude. She might want

him to yearn for her as she does for him. She desires his body and his bestiality while

she gradually uncovers the animalistic side of herself as well. She shows regret about

having restrained herself from all the sexual pleasures she could have enjoyed in the

past. Clearly, by portraying such a stream of thoughts in the female character, Carter

supports and deliberately emphasizes women‟s sexuality and urges, presenting them as

natural and necessary to all, regardless of gender, social hierarchy, and background. As

time goes by, Beauty recognizes she has more in common with the Beast and gradually

loses interest in humanity that chained her wild spirit. In addition, she realizes that she

has “nothing to lose and everything to gain” (Carter, 1979, p. 56) and by doing so she

strips herself of her clothes as well as her appointed role in society. She stops being

enslaved and controlled and chooses to accept her own nature and inner bestiality.

Once she finds her powerful side and frees herself from the grasp of patriarchy,

she willingly unifies with the Beast. The girl describes: “I felt I was at liberty for the

first time in my life” (Carter, 1979, p. 64). Although she regains her freedom by taking

off her clothes, she chooses to stay with the Beast. Carter allows her Beauty to develop

sexually as well as in terms of personal advancement. She becomes bold and gains

control of her body and fate, which the Beast, representing male dominance, has had the

whole time. In Carter‟s tales beasts represent otherness, which is especially in contrast

to the rational mind of humans. The author creates a balance between female and male

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characters and by doing so empowers women to accept their uniqueness, liberate their

sexual desires and demand or even impose equal rights and roles in all aspects of life.

The girl taking off her clothes is described as “white, shaking, raw, approaching

him as if offering […] the key to a peaceable kingdom in which his appetite need not be

[her] extinction” (Carter, 1979, p. 67). Once the beast starts licking her skin, she feels

that “each stroke of his tongue ripped off skin after successive skin, all the skins of a life

in the world, and left behind a nascent patina of shining hairs” (Carter, 1979, p. 67).

Beauty‟s metamorphosis takes place and she also becomes a beast. In this way, Carter

wants to underline the equality between the genders as well as to dismiss the

meaningless influence of the patriarchal society which instructs men to be dominant,

cold and reserved while requiring women to be modest, patient, obedient and

subordinate. Moreover, Carter subverts the traditional flow of fairy tales where the

prince is freed from the animal body in order to live as a human. She transforms her

heroine into a beast and by doing so, the author celebrates variety, individuality,

freedom of choice and otherness. As a self-sufficient and sovereign woman, the girl

manages to transform her sacrifice into leverage by rejecting her humanity and

embracing both her own and the Beast‟s non-humanness in mutual desire. By

emphasizing the contrast between nudity and being dressed, Carter might want to imply

that the only thing that separates humans from wild and untamed beasts are the clothes

which can be seen as a determining factor of belonging to society. After finally

liberating her inner, bestial self, Beauty decides to send her father a mechanical maid

dressed in her clothes. The mechanical puppet also symbolizes her previous role in

society – to be controlled, directed, suppressed and treated as property. She chooses

emotion and instinct over reason when she refuses to return home. The act of sending a

clockwork doll enables her to be an agent while she uses the mechanical maid as a

means to escape her father‟s objectivization. Furthermore, she claims the right to choose

her alternative self and at the same time rejects the norms established in fairy tales.

It can be concluded that Carter deliberately emphasizes and directly depicts a

gradual development of her female protagonist towards “abandonment of conventional

rationality” as well as “acceptance of the animal Other as natural” (Webb & Hopcroft,

2017, p. 315), which can be regarded as yet another antithesis to Beaumont‟s version of

the tale. Unlike in traditional fairy-tale narratives, transformation is not a means of

achieving success in the patriarchal society but rather a liberation from it. It is also

relevant to point out that the girl combines her Western background and the rational

techniques common to humans when evaluating her position and possibilities as a mere

commodity in a patriarchal economy. In doing so, Carter evokes the reader‟s sympathy

for the girl and invites them to acknowledge her critique of the male-dominated

economy in which women are, similarly to children and animals, just devices, and as

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such, traditionally considered inferior and hence only useful as a possession. Besides,

Carter‟s intention to criticize the narrative paradigm of fairy tales is rather obvious from

the very beginning since the critique is articulated by a well-educated girl from a higher

social class who is forced by her father, but also expected by the society, to take the

position of a victim.

The girl‟s thoughts have a purpose not only to criticize and challenge patriarchy

but also to pose the question of the value of humans and animals. “I had always held a

little towards Gulliver‟s opinion, that horses are better than we are, and, that day, I

would have been glad to depart with him to the kingdom of horses, if I‟d been given the

chance” (Carter, 1979, p. 36). By referring to Jonathan Swift‟s opinion, she suggests

that horses, but also other animals, are logical, rational and graceful creatures while

humans are brutal and destructive. Therefore, similarly to Gulliver, she willingly

chooses to escape from society and unifies with nature.

Carter accepts and advocates natural urges and equality in behavior in both men

and women. As Bettelheim explains, beasts and animals symbolize “untamed id” (2010,

p. 300), including our sexual desires and impulses. According to him, this retold story is

important since Beauty and the Beast and similar stories “undo the repression of sex”

(Bettleheim, 2010, p. 300). He claims that children at one point need to discover that

“what we had experienced as dangerous, loathsome, something to be shunned, must

change its appearance so that it is experienced as truly beautiful. It is love which permits

this to happen” (Bettleheim, 2010, p. 300). Carter obviously shares this point of view

and advocates that there is nothing shameful and vicious in sexual intercourse and

pleasure. She aims to change the attitude towards sexual urges, especially in women,

and to turn them from being considered repugnant to marvelous and natural.

CONCLUSION

This paper elaborated on Angela Carter as an influential novelist who,

throughout her work, advocated a belief in sexual liberation and genuine individuality

as well as pointed to all the faulty elements of patriarchal society. As Brooke observes,

“fairy tales exist across generational and geographical lines, explaining, instructing, and

prohibiting social customs and natural phenomena. Often such tales work to constrain

women in particular from breaking cultural barriers” (2004, p. 84). Carter‟s feminism

manifested through subversions of female fairy-tale characters rejects socially dictated

categorization while encouraging the introduction of sexuality, multiplicity of repressed

voices and individuality into traditional narratives. In The Bloody Chamber and Other

Stories, she reversed and subverted the genre of fairy and folk tales in order to

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demythologize everlasting social myths and paradigms. She aims to inspire a social

change that literature might have the power to achieve.

Carter was not acknowledged nor supported by all the Second-wave feminists

due to the fact that many of them disapproved of her rewritings of fairy tales as well as

her perspective on pornography. She fought for an unsuppressed image of women as

well as their liberation, especially in terms of sexual urges (Muţdeka, 2016, p. 165). For

that reason, her heroine in “The Tiger‟s Bride” pursues her needs, accepts her natural,

dissocialized self and embraces the inner bestial side of her personality. By pointing out

the fact that society treats animals and women as objects designed for men‟s satisfaction

and commodity, Carter criticizes the ongoing process of social acceptance of

dehumanization among humans, which is portrayed through powerful images of

mechanical maids and carnival figures of men. The author aims to reconstruct the

socially accepted system of predetermined male and female, owner and property, roles

in order to demonstrate the futility of such divisions based on sex. Therefore, her

feminism does not merely reinforce women but empowers all those marginalized

individuals who do not fit into the patriarchally established paradigms which are

depicted in the transformations of both male and female characters in the analyzed tale.

Furthermore, as stated, this paper elaborated on “The Tiger‟s Bride” in relation

to Carter‟s subversion of Beaumont‟s Beauty and the Beast. The tale is reconstructed in

order to express Carter‟s feminist and humanist attitudes that deal with women‟s

sexuality, individuality, and acceptance of otherness. Her rewritten tales abound with

radical ideas and elements of violence, unruly libido, and rebelliousness employed as

means of renouncing the contemporary patriarchal paradigm in favor of inhibited voices

that have been repressed by the well-established and socially approved narratives. All

the heroines in The Bloody Chamber and Other Stories are captives of a patriarchal

society and thus Carter depicts their struggles and ways to free themselves from the

chains of male superiority. They employ their sexuality and instincts to determine and

differentiate right from wrong instead of merely confining themselves to social

constructs of reality and appointed predetermined behaviors. Traditional fairy tales

present women as pure, liberated from any sexual desire, submissive and passive, which

are behaviour models children are taught from a very early age. Contrary to this, Carter

celebrates sexual urges in women as well as their necessity to live according to their

personalities instead of artificially created roles. Her heroines manage to endure

physical and mental abuse, constant objectivization as well as humiliation in the society

which limits their individuality, subjectivity, and freedom to choose their own life path.

According to Brooke, they survive not only “within their narrative” but also within “our

collective cultural experience” (2004, p. 68). The same author advocates that Carter

managed to “destabilize the artificially restrictive categories” as well as “to undermine

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the lingering presence in contemporary cultural presumptions” (2004, p. 69). She

assigns to her heroines a set of characteristics such as violence, aggression, rebellious

nature and disobedience. Moreover, they are self-confident, self-sufficient, fulfilled and

free. By doing so, Carter empowers her female characters, and through their image the

whole human race, to pursue their individual needs and rebel against societal

constraints.

It can be concluded that Carter does not aim to completely discard reality in

order to propose a matriarchal society. Instead, she questions and subverts social

attitudes with the aim of emphasizing their meaninglessness and dysfunctionality. By

rewriting the original Beauty and the Beast twice, in “The Courtship of Mr Lyon” and

“The Tiger‟s Bride”, Carter underlines the necessity of multiple perspectives and

otherness in order to celebrate the uniqueness of each individual and their right to

choose their path rather than be portrayed through predetermined roles and behaviors.

She furthermore proposes that by deconstructing the social paradigm, new, improved

relations and categories can be created (Muţdeka, 2016, p. 164) among people, which

might be seen as the main reason for her subversion of the fairy-tale genre.

REFERENCES

Allen, G. (2000). Intertextuality. London: Routledge.

Bacchilega, C. (1997). Postmodern fairy tales: Gender and narrative strategies.

Philadelphia: University of Pennsylvania.

Benson, S. (1998). Angela Carter and the literary Märchen: A review essay. Marvels &

Tales 12 (1), 23–51.

Bernhardt, L. C. (2019). The fantasy of female sexual freedom in Angela Carter‟s The

Bloody Chamber and in John Logan‟s Penny Dreadful (unpublished master thesis).

Stellenbosch University, Stellenbosch, South Africa.

Bettleheim, B. (2010). The uses of enchantment: The meaning and importance of fairy

tales. London: Vintage.

Brooke, P. (2004). Oh my! Revisionary fairy tales in the work of Angela Carter.

Critical Survey 16 (1), 67–88.

Bryant, S. (1989). Re-constructing Oedipus through Beauty and the

Beast. Criticism 31(4), 439–453.

Carter, A. (1979). The bloody chamber and other stories. London: Victor Gollancz.

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Carter, A. (1983). Notes from the front line. In M. Wandor (Ed.), On Gender and

Writing (69–77). London: Pandora Press.

De Beaumont, J. (1999). Beauty and the Beast. The classic fairy tales. New York: W.W.

Norton & Company.

Gamble, S. (2008). Penetrating to the heart of the bloody chamber: Angela Carter and

the fairy tale. In S. Benson (Ed.), Contemporary Fiction and the Fairy Tale (20–46).

Michigan: Wayne State University Press.

Genette, G. (1989). Palimpestos: la literature en segundo grado. Trans. C. Fernandez

Prieto. Madrid: Taurus.

Hutcheon, L. (2004). A poetics of postmodernism: History, theory, fiction. New York:

Routledge.

Kristeva. J. (1980). Word, dialogue, and novel. In L. S. Roudez (Ed.), Trans. T. Gora et

al. Desire in Language: A Semioic Approach to Literature and Art (64–91). New York:

Columbia.

Makinen, M. (1992). The bloody chamber and the decolonization of feminine sexuality.

Feminist Review 42, 2–15.

McLaughlin, B. (1995). Perverse pleasure and fetishized text: The deathly erotics of

Carter‟s The bloody chamber. Style 29 (3), 404–422.

Muţdeka, N. (2016). Magijski realizam u romanima Andţele Karter. Novi Sad:

Filozofski fakultet, Univerzitet u Novom Sadu.

Rose, E. C. (1983). Through the looking glass: When women tell fairy tales. In E. Abel,

M. Hirsch & E. Langland (Eds.), The Voyage In: Fictions of Female Development

(219–232). Hanover, NH: UP of New England.

Rowe, K. (1979). Feminism and fairy tales. Women‟s Studies 6 (3), 237–257.

Sellers, S. (2001). Myth and fairy tale in contemporary women‟s fiction. London: Red

Globe Press.

Warner, M. (1995). From the beast to the blonde: On fairy tales and their tellers.

London: Vintage.

Webb, C. & Hopcroft, H. (2017). A Different Logic: Animals, Transformation, and

Rationality in Angela Carter‟s The Tiger‟s Bride. Marvels & Tales 31(2), 314-337.

Zipes, J. (2006). Fairy tales and the art of subversion. London: Routledge.

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ANĐELKA M. GEMOVIĆ

OD ZAROBLJENICE DO ZVERI: FEMINISTIĈKO PODRIVANJE ŢENSKIH

LIKOVA IZ BAJKI U PRIĈI „TIGROVA NEVESTA“ ANDŢELE KARTER

Rezime: Rad se bavi istraţivanjem jedinstvenog pogleda Andţele Karter na feminizam

i društvene nedaće svog i, kako se ispostavlja, našeg, modernog doba. Analizom priĉe

„Tigrova nevesta“ iz zbirke Krvava odaja i druge priče moţe se zakljuĉiti da Andţela

Karter svojom subverzijom heroina iz tradicionalnih bajki upućuje na kompleksnu

problematiku u društvu. Reĉ je o problemima nejednakosti polova, potisnute

seksualnosti, netolerancije, nemogućnosti oĉuvanja jedinstvenog identiteta i drugosti,

koji se vrlo ĉesto zanemaruju ili smatraju opšteprihvaćenim stavom zajednice, a zapravo

su utkani kako u kolektivnu tako i u individualnu svest u velikoj meri zbog sadrţaja i

subliminalnih poruka tradicionalnih bajki. Stoga, Karter teţi da se bori protiv ovih

nametnutih, najĉešće patrijarhalnih standarda stvarajući nove, nezavisne, hrabre i

dovitljive heroine koji prihvataju ali i koriste svoje seksualne potrebe i divlju,

ţivotinjsku stranu kako bi odbacile besmislene i nefunkcionalne društvene norme i

prihvatile svoje istinsko „ja“. Odbivši predodreĊene i nametnute uloge, Lepotica iz

„Tigrove neveste“, nasuprot onoj iz Lepotice i zveri, potpuno se odvojivši od društva

koje ju je posmatralo kao predmet, slavi zver i drugost u sebi. Ipak, Andţela Karter ne

kritikuje iskljuĉivo muškarce i patrijarhalni sistem, već i ţene i njihovu pasivnost u

njemu. Priĉom „Tigrova nevesta“, ali i celom zbirkom Krvava odaja i druge priče, ona

nastoji da utiĉe na svoje ĉitaoce da ruše mitove, bajke i celokupnu društvenu paradigmu

kako bi se stvorio novi sistem u kom polovi nisu podeljeni na zarobljenice i zveri, i gde

su drugost i prihvatanje individualnosti uzvišeni cilj.

Kljuĉne reĉi: feminizam, subverzija ţenskih likova, tradicionalne bajke, rušenje

društvenih normi, dekonstrukcija mitova.




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117


DOI: 10.5937/reci1912117R

UDC: 821.113=163.41

81'255.4:316.7

Ruţica S. Radulović*

University of Arts in Belgrade

Faculty of Drama Arts

FROM NORTHERN EXOTISM TO CONDEMNATION TO HEAVEN: CULTURAL

TRANSLATION AND LITERARY REPRESENTATION OF THE SCANDINAVIAN

COUNTRIES IN THE LOCAL SERBIAN CONTEXT**

Abstract: The largely positive hetero-image of the Scandinavian region

reverberates both world-wide and in the local Serbian context. Therefore, the

main subject of this paper is how media-bound literary representations of

Scandinavia travel from the original Scandinavian to the local Serbian cultural

context, i.e. what kind of image of Scandinavia is conveyed and received through

the recent translations of Scandinavian literary texts into Serbian. For that

reason, the paper introduces the notions of Northern Exotism and Condemnation

to Heaven as two dominant ways the Scandinavian region is presented in

* [email protected]

** The paper is partially based on the author‟s master thesis From Northern Exotism to

Condemnation to Heaven: Cultural Relations and Cultural Translation between the Scandinavian

and post-Yugoslav countries (UNESCO Chair in Cultural Policy and Management, University of

Arts in Belgrade, 2018)

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118 R U Ž I C A S . R A D U L O V I Ć

fictional texts. The paper is based on the categorical apparatus of theories of

cultural translation. Cultural translation is not concerned with the linguistic

transfer of units, but with the transfer, transformation, and translation of a

historical subject from one political and cultural state into another. The paper

therefore relies on the thematic analysis of a selection of Norwegian authors who

have been recently translated into Serbian.

Key words: cultural translation, cultural untranslatability, contemporary

Scandinavian literature.

INTRODUCTION

Contemporary Scandinavian societies are known for their multiculturalism and

values that position them as a unique exceptional region (Jensen & Loftsdóttir, 2014;

Jensen & Loftsdóttir, 2016; Hübinette, 2016) – democracy, tolerance, societal inclusion,

equality and egality, political consensus, collectivism. Furthermore, these countries are

considered to be “the world‟s champion(s) of minority rights and mediators in global

politics” (Fur as cited in Jensen & Loftsdóttir, 2014, p. 8), while “the best of all worlds

are located in the North” (Henningsen as cited in Jensen & Loftsdóttir, 2016, p. 6). The

general conception of the modern Scandinavian countries is therefore associated with

the high living standard and the values of the welfare state model, making the

international image of the Scandinavian region value-neutral and/or value-positive

(Rajić, 2008a).

This largely positive hetero-image of the Scandinavian region reverberates

internationally, i.e. both worldwide and in the local Serbian context. Therefore, the main

subject of this paper is how media-bound literary representations of Scandinavia travel

from the original Scandinavian to the local Serbian cultural context, i.e. what kind of

image of Scandinavia is conveyed through the recent translations of Scandinavian

literary texts into Serbian. For that reason, the paper introduces the notions of Northern

Exotism and Condemnation to Heaven as two dominant ways the Scandinavian region is

presented in fictional texts. The paper understands the notion of Scandinavia as a

narrow political and historical entity, comprised of the following three states: Denmark,

Sweden and Norway (Rajić, 2008b).

The literary corpus that was chosen for thematic analysis was extracted from the

overall body of modern Scandinavian literature in Serbian translation (1988–2018)

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COUNTRIES IN THE LOCAL SERBIAN CONTEXT

119

based on the data collected by Professor Ljubiša Rajić in his bibliography Skandinavska

knjiga u prevodu na srpskohrvatski jezik (2008) and complemented with data provided

by COBISS – Co-operative Online Bibliographic System and Services, Danish Arts

Foundation, NORLA and Swedish Arts Council‟s databases (2008–2018). The scope of

the research included only those cultural texts that have a certain role in the cultural

circulation and relations between the Scandinavian region and Serbia, as we are

interested in the travel of media-bound representations, values, patterns of thinking and

modes of behaviour from one cultural context to another. The research did not include

the translations of diplomas, treaties, law suits, catalogues, etc. Moreover, Professor

Rajić‟s bibliography included translations that were not done from the original language

(i.e. Danish, Norwegian, Swedish), but from an intermediary language of translation

(German or English). Our research included only the translations done directly from the

original languages. Non-fiction was also taken into consideration, as well as the

translations done by non-professional translators, i.e. those who did not acquire formal

education at the Department of Scandinavian Studies in Belgrade. As COBISS detects

only those units published as independent editions, books or brochures, this represented

the main source of research limitation.

In order to evaluate the reception of Scandinavian literature by the Serbian

reading audience, we interviewed the executive directors of the following publishing

houses in Serbia: Geopeotika (Jasna Novakov Sibinović), Laguna (Mina Kebin) and

Odiseja (Marija Vukosavljević and Vesna Kapuran). These publishers were selected

because the publication of Scandinavian authors is part of their publishing policy. There

are, of course, other publishers that have published Scandinavian authors over the

course of time, but an analysis of their editions shows that their publishing policy

regarding Scandinavian literature is not consistent and that Scandinavian writers can be

found only as occasional “sparks” in their publishing programme. Another criterion for

the selection of publishers was the consistency of publishing a certain author, as this can

provide better visibility and promotion of the literature in question. Additionally, in

regard to the reception of Scandinavian literature, we interviewed journalists Dragana

Kovaĉević and Milica Lapĉević. The research questions were predominantly aimed at:

the dominant narratives in translations that convey a certain message about the

Scandinavian societies and their values; the Scandinavian authors who have contributed

most to the creation of a particular image of Scandinavia and those who are most easily

recognized by the Serbian reading audience; an approximate evaluation of visibility of

Scandinavian literature and authors to the wider public.

Based on the theoretical framework of cultural translation, the paper explains the

level of cultural untranslatability and adaption between the Scandinavian and Serbian

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languages. For this purpose, we interviewed three different professional translators from

the Scandinavian languages, more precisely Norwegian and Danish – Jelena Loma,

Sofija Vuković Petrik and Radoš Kosović. The research questions included: the extent

of (cultural) untranslatability in the texts (i.e. what is difficult to translate from one

language to another and keep the same affective or emotional content the utterance has

in the original culture); an approximate evaluation of the extent to which the text is

being adapted to the culture of the target language during the translation act.

The authors that we considered to be the representatives of the aforementioned

overarching narratives (Northern Exotism and Condemnation to Heaven) are also those

who contributed to the general breakthrough of the Scandinavian literature on the

Serbian book market and who are greatly praised by the Serbian publishers for their

artistic quality and credibility. These authors have also received the highest

Scandinavian literary awards (e.g. Augustpriset, Amalie Skram-prisen, The Nordic

Council Literary Prize, Norwegian Critics Prize for Literature, etc.), so they represent

the peak of the contemporary Scandinavian literature. Therefore, the chosen authors are

also a part of the publishing programmes of the selected publishing houses. These are

Erlend Loe, Per Petterson, Merethe Lindstrøm and Jo Nesbø and in particular the

following novels: Dopler (Doppler, Erlend Loe, 2003), Kleta reko vremena (Jeg

forbanner tidens elv /I Curse the River of Time/, Per Petterson, 2009), Dani u povesti

tišine (Dager i stillhetens historie /Days in the History of Silence/, Merethe Lindstrøm,

2015), Crvendać (Rødstrupe /The Redbreast/, Jo Nesbø, 2009).

CULTURAL TRANSLATION IN THE POSTCOLONIAL PERSPECTIVE OF HOMI BHABHA

Cultural translation is a cultural and political phenomenon dealing with some of

the crucial challenges of the fragmented societies, cultures and identities in the world of

globalization and migratory processes (Rogaĉ-Mijatović, 2015). The significance of

cultural translation lies within the fact that it perceives translation as a cultural process

rather than a textual product. It is traditionally linked to the demographic processes that

shape our cultures, which is particularly the case with the multicultural Scandinavian

societies.

The concept of cultural translation as we understand it today has not originated

from the traditional translation theories, but from their radical critique. The first to

criticize the traditional translation theories was Walter Benjamin in his 1923 essay “The

Task of the Translator” (2012). For Benjamin, translation has neither to do with the

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transfer of meaning nor with communication. In his essay “On language as such and on

the language of man” (1916), Benjamin concludes that: “Translation passes through

continua of transformation, not abstract ideas of identity and similarity” (cited in

Bhabha, 1994, p. 212). That translation goes through continua of transformation implies

a relation between the original (cultural) text and the translation. Benjamin believes that

these two entities are not some fixed or permanent categories, as they are transforming

themselves in time and space. Moreover, he describes the relation between the original

and translation as a tangent line, i.e. the translation is a tangent that touches the circle

(the original) only in one point, whereafter it continues going its way (Buden et al,

2009).

Out of this deconstructivist theory, Homi Bhabha coined his notion of cultural

translation (Bhabha, 1994, p. 212). While Walter Benjamin was concerned with the

critique of the traditional translation theory, Bhabha was motivated by the critique of the

ideology of multiculturalism. What is at stake here is the essentialist quality of the

unitary cultural identities and communities, imagined by multiculturalism.

Deconstructivism undermines the concept of multiculturalism by negating that every

identity comes from some previously given state, i.e. essence. For a deconstructivist

such as Bhabha, culture is a narrative, without any specific historical or physical origin,

i.e. a sign system (Bhabha, 1994, p. 198). This is how deconstructivism undermines the

essentialist quality of multiculturalism, as it postulates that there is no “natural state” of

things. Thus cultures cannot relate to, they can only construct their own origin, but

beyond the mentioned essentialist qualities such as race, gender or ethnicity.

Therefore, cultural translation is not concerned with a linguistic transfer of units,

but with transfer, transformation and translation of a historical subject from one political

and cultural state into another. The historical subject acts as a cultural translator. The

task of the translator is then both cultural and political. However, the only element that

is directly taken from the traditional translation theory is the issue of untranslatability.

Bhabha sees untranslatability, as expected, not as a linguistic problem, but rather as a

point of resistance and will for survival of the migrant. The way resistance and survival

are connected to each other in cultural translation corresponds to the way Walter

Benjamin claims that translation prolongs the life of the original. Prolonged life is

possible as the very act of translation simultaneously transforms and inevitably renews

the original (Benjamin as cited in Pym, 2014, p. 141).

Bhabha mobilizes a whole segment of translation theory and redefines it – from a

plain linguistic transformation into a struggle for new cultural identities. Cultural

translation thus introduces a human dimension, as it advocates for a transformation of

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the world not through negation, but through negotiation (Buden et al, 2009, p. 201).

That is why Bhabha suggests the third space, which is a space for cultural hybridity

(Bhabha, 1994, p. 223). The (cultural) translator is then located at or even within the

borders of the different cultures, as s/he possesses the cultural competences of both

environments: “The focus is on making the linkages through the unstable elements of

literature and life – the dangerous tryst with the untranslatable – rather than arriving at

ready-made names” (Bhabha, 1994, p. 325). This attitude is generalized in the following

quote: “Translation is the performative nature of cultural communication” (Bhabha as

cited in Pym, 2014, p. 141).

Obviously, such an understanding of translation must come from the position of

translator, and not from the position of translation. Moreover, the translator is figurative

(Pym, 2014), while the focus on hybridity is telling us something more about the

general position of the translator. The cultural translator is located in the in-between

spaces of cultures (Bhabha, 1994; Rogaĉ-Mijatović, 2015). By possessing cultural

competences from both environments, s/he can say something about the effects that the

translation has on the cultures, thus opening them to the other cultures.

THE TASK OF THE TRANSLATOR – HOW INEVITABLE ARE ADAPTIONS AND

INTERVENTIONS IN TRANSLATION?

Kwame Anthony Appiah and Antoine Berman are two theoreticians who are

even more interested in the number of necessary interventions made by the translator

when a text travels from one culture to another. Claiming that a “perfect” translation

does not exist, Appiah argues that intervention and adaption by the translator are

inevitable, as the transformed text has to find its own place in the culture it is being

translated into (Appiah, 2012). The purpose of translation for Appiah is not primarily

the meaning, but getting the meaning:

When a speaker communicates a belief by way of the utterance of the

sentence, she does so by getting her hearers to recognize both that this is

the belief she intends them to have and that she intends them to have

that belief in part, because they recognize that primary intention.

(Appiah, 2012, p. 333)

It is worth noting that in the literary practice, motivated by a specific structure of

mutual expectations between the sender and receiver, it is not only important to get the

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literal intention of the text, or the intention of the author, but to comprehend the whole

overarching message, that is also conveyed by the formal features of the text such as

alliteration, meter, rhyme, etc. (Appiah, 2012, p. 334). In poetry, we cannot rely on the

literal meanings of the words and utterances, as they frequently do not have fixed

meanings – we rely on the associations the words evoke by their sound or thought

(Appiah, 2012, p. 334).

The aim of the translator is then to construct something that would share the

central literary features of the target text – it must somehow relate to the culture it is

being translated into (Appiah, 2012, p. 338). This is where Appiah gets close to cultural

translation. He introduces a special concept of literary translation that he calls thick

translation, which should localize the text in the rich linguistic and cultural context of

the target language: “learning about rich differences of human life in culture is the aim

of not only the literary, but also cultural translation” (Appiah, 2012, p. 341). By the

“thick translation”, the author refers to the “thick description” of the context of literary

production – the system of annotations and accompanying glosses in translation – that

provides us with the necessary apparatus for understanding the characteristics of other

cultures or other times (Appiah, 2012, pp. 341–342).

Antoine Berman addresses the issues of the act of translation, the necessary

amounts of adaption and intervention made by the translator. In addition to this, Berman

develops a system of analysis that tracks the degree of text deformation and adaption

during the translation act. He argues that this is the inevitable nature of the translating

act, and particularly of literary translations, as they are strongly rooted in the language

of their original culture, so that the manipulation of signifiers is unavoidable (Berman,

2012). The analytic of translation includes two possible meanings – a detailed analysis

of the deformation system and an analysis in the psychoanalytical sense (Berman, 2012,

p. 241). The analysis in the psychoanalytical sense is an unconscious system, as it exists

only as series of tendencies or even “forces” that make the translation transform its own

aim (Berman, 2012, p. 242). Berman identifies twelve deformation tendencies or ways

of transformation: rationalization, clarification, expansion, ennoblement and

popularization, qualitative impoverishment, quantitative impoverishment, the

destruction of rhythms, the destruction of underlying networks of signification, the

destruction of linguistic patternings, the destruction of vernacular networks or their

exoticization, the destruction of expressions and idioms, the effacement of the

superimposition of languages (Berman, 2012, p. 244). Moreover, Berman claims that

prose texts collect, rearrange and mix the “polylingual” space of a community (Berman,

2012, p. 243). The polylingual space implies the totality of languages that are mobilized

and activated and that co-exist in any given language (Berman, 2012, p. 243).

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THE STRUCTURE OF TRANSLATIONS OF MODERN SCANDINAVIAN LITERATURE INTO

SERBIAN (1988–2018)

The biggest share of translations of modern Scandinavian literature into Serbian

comprises prose texts, in the first place adult fiction, crime novels and then children‟s

fiction. There is also a considerable amount of translated short stories. Still, the novel is

the dominant and most prevailing literary form. Drama is considerably less translated,

and there are hardly any systematic translations of Scandinavian dramatists.1 Plays are

mostly commissioned by theatres as they are intended to be performed later. Poetry is

the least translated, together with non-fiction. Collections of bigger, capital works of

Scandinavian literature are rare cases. There is one recent case of a translated anthology

of Swedish poetry.2 So far, there are no anthologies of Danish literature.

Scandinavian literature in translation is represented mostly, as it appears, by the

contemporary literary production, except for a few older classics, such as Henrik Ibsen,

August Strindberg and Knut Hamsun. The prevalence of translations of contemporary

Scandinavian literature is easily explained by the interest of the responsible institutions

– NORLA, Swedish Arts Council, and Danish Arts Foundation – to promote their

contemporary societies (Šobe & Marten, 2014). We can also add that this suits the

political and foreign trade interest of a country (Vizomirski & Šnajder, 2006). Judging

by the number of extracted units, the very core of Scandinavian literature in Serbian

translation is composed of the following authors:

Jo Nesbø – 22 units;

Astrid Lindgren – 22 units;

Erlend Loe – 10 units;

Jostein Gaarder – 9 units.3

1 With the exception of Antologija savremene norveške drame [Anthology of contemporary

Norwegian drama] (edited by Lj. Rajić (Beograd: Stubovi culture, 2004)) and two volumes of

Henrik Ibsen‟s selected plays (Izabrane drame I (Beograd: Geopoetika, 2004); Izabrane drame II

(Beograd: Geopoetika, 2014)).

2 Lingebrandt, A. (2017). Na promaji vremena: antologija savremene švedske poezije: dvanaest

pesnika. Novi Sad: Društvo knjiţevnika Vojvodine.

3 By units we refer to the number of titles translated.

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Although Jo Nesbø is the most represented Scandinavian author in Serbian

translation according to the current corpus of translations, the first translation of his

works appeared only after 2008. He was therefore not included in professor Rajić‟s

bibliography, but the number of titles translated in the period of ten years bear witness

to his success on the book market.

Astrid Lindgren has the same number of units. Up to 2008, twelve titles were

translated. In the past ten years, the Belgrade-based publisher Odiseja has published

eight titles starting from 2008, while Kreativni Centar published only two (Bata i

Karslon s krova /Lillebror och Karlsson på tacket/, 2010; Karlson s krova ponovo leti

/Karlsson på tacket flyger igen/, 2011) (M. Vukosavljević and V. Kapuran, personal

communication, March 21, 2018).

These authors are followed by Erlend Loe, with ten identified titles. However,

the extent of his success is made even clearer when we take into consideration the

amount of reprints and new editions of some of his titles. Together with new editions of

previously published works, the total count of units is around thirty. The situation is

similar with Jostein Gaarder. Together with newer editions the total count of units

would be seventy.

There are certain changes in regard to the structure of translations at the time

Professor Rajić‟s bibliography was published. Until 2008, according to Professor Rajić,

most of the translated authors were Swedes (more than 120), followed by Norwegians

(110) and Danes (60). In the next period, from 2008 to 2018, new authors were

introduced, so that the total count of the Scandinavian authors represented through

translation starting from 1988 up to 2018 is: more than 110 Norwegian authors are

represented through translation; the number of Swedish authors counts approximately

85; while Danes are the least translated with 55 authors. These figures also include non-

fiction.

Children‟s literature, although represented by a solid share of authors, has its

lacunas. The target audience are usually children between the age of six and twelve and

younger teenagers. There is no literature for preschoolers, as books for this age group

are usually illustrated and picture books, which are more expensive for publishers (M.

Vukosavljević and V. Kapuran, personal communication, March 21, 2018).

Scandinavian female authors are continuously being more translated and only in

the last ten years the following writers have been introduced to the book market by

various publishers: Jussi Adler-Olsen, Naja-Marie Aidt, Line-Maria Lång, Dorthe Nors,

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Adda Djørup, Helle Helle, Pia Tafdrup, Lone Hørslev, Maria Parr, Agnes Ravatn, Eva

Adolfson, Emma Granholm, Sara Kadefors, Sara Stridsberg, Katarina Mazetti, Kristina

Sandberg, etc.

THE RECEPTION OF SCANDINAVIAN LITERATURE

When asked about the dominant narratives in the imported Scandinavian

literature, both the executive directors of the publishing houses and the journalists

reached a certain consensus that the main narrative revolved around “a man on the other

side of a mental breakdown”. The family and inner darkness act as the focus – how the

main character is dealing with pain, divorce, death, mortality, betrayal, aging, while

preserving the facade of a normal, bourgeois family. This poses a question about one‟s

identity, particularly about one‟s perception of one‟s own age and gender identity. Our

reading audience perceives this as something “exotic”, as identity crisis is experienced

in different ways in the Balkans, as explained by Jasna Novakov Sibinović (personal

communication, May 24, 2018). By this, the interlocutor referred to the cases of local

crimes in Serbia that represent an escalation of the culture of violence, “bottled up”

feelings that explode with tragic consequences.

According to Jasna Novakov Sibinović, the year of 1995 was crucial for the

breakthrough of contemporary Scandinavian literature in Serbia, when the first edition

of Sofijin svet (Sofies verden) by Jostein Gaarder was translated. Generally,

Geopoetika‟s best-selling Scandinavian authors are Joostein Gaarder and Erlend Loe.

Moreover, another Norwegian author in their publishing programme who gained

considerable publicity and attention was Merethe Lindstrøm, after the Serbian

translation of the novel got the Miloš N. Đurić award for translation (Dager i stillhetens

historie, 2015, translated by Radoš Kosović) (J. Novakov Sibinović, personal

communication, May 24, 2018). The interviewee believes that Geopoetika has largely

contributed to the promotion and placement of Scandinavian literature on the Serbian

market, as they have established a reputation as a publishing house that produces only

high-quality literature.

Laguna‟s best-selling Scandinavian authors are Jo Nesbø and Frederik

Backmann. Jo Nesbø gained the cult status he now enjoys with his fourth book

published in Serbia (Lovci na glave /Hodejegerne/, 2012). Mina Kebin referred to the

features of genre-specific literature (such as crime fiction that Jo Nesbø belongs to)

when asked about the reception of Scandinavian literature. Although crime novel is

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defined by certain standards and specifications of the genre, the crime novel authors,

including Nesbø, often manage to overcome the constrictions of the genre, so that we

cannot speak of a simple crime novel, but of a complex meta-text with intertextual

elements. However, how the audience shall understand these meta-elements depends on

the personal depth of reading. For instance, Jo Nesbø‟s references to the hidden

sympathy for and legacy of Nazism in Sweden during the Second World War, as Kebin

believes, are not a part of the “real history” for a Serbian reader, but s/he reads and

processes them as something fictional (M. Kebin, personal communication, May 25,

2018).

Additionally, the interviewed journalists agreed that among modern

Scandinavian authors who have been translated in the past thirty years, Jo Nesbø and

Erlend Loe are the Scandinavian authors most recognized by the Serbian reading

audience. The other two most recognized translated Scandinavians are the “older

classics” – Henrik Ibsen and August Strindberg (D. Kovaĉević, personal

communication, July 20, 2018; M. Lapĉević, personal communication, July 31, 2018).

Judging by the answers provided by the interlocutors, the general reception of

Scandinavian literature is related to the inclination of the Serbian reading audience to

the narratives that are represented in the translations. As explained by the interviewed

publishers and journalists, a significant number of Scandinavian authors translated into

Serbian depict mechanisms individuals use to cope with seemingly unsolvable life

problems. Furthermore, the feature of Scandinavian literature that seems to be appealing

to the Serbian audience is the depiction of the reverse side of the Scandinavian societies,

which feels much closer to the local Serbian context and existential problems

experienced in the Balkans (pain, divorce, death, mortality, aging, social and financial

uncertainty, etc.). One of the frequently depicted themes in these translations are the

feuds between the neighbouring countries, for example, between Norwegians and

Swedes. The publishers believe that this also contributes to the general popularity of

Scandinavian literature.

Moreover, based on Geopoetika‟s and Laguna‟s publishing experience, “exotic

literature” such as Scandinavian is better received than “the grand French literature”.

For instance, even some of Geopoetika‟s French titles that have been awarded the

Goncourt prize are not as noticed as Scandinavian authors. Generally, as agreed among

the interviewed publishers and literary journalists in Serbia, the common features of the

Scandinavian authors represented on the Serbian book market are: high quality of

writing style and narrative talent, and depiction of inner struggles and psychological

make-up and motivation of characters.

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CULTURAL UNTRANSLATABILITY AND THE LEVEL OF ADAPTION IN SERBIAN

TRANSLATION OF SCANDINAVIAN CULTURES

The following translation problems were identified: language identity and its

roles in Norway, Tu-Vous (T-V) distinction, local cultural references and the

Scandinavian religious heritage. These elements of culture are difficult to translate as

they do not have their adequate equivalents in Serbian.

Language identity in Norwegian originates from the existence of many and

various Norwegian dialects that have implications for our understanding of the values

that are assigned to the users of a particular dialect. What cannot be translated in this

context is how to explain the significance of dialects in Norway. This is a consequence

of the complex development of Norwegian language politics that took place in the 19th

century, producing two standardised forms of Norwegian – bokmål and nynorsk. Jelena

Loma explained the role of language identity in Norwegian by referring to her

experience of translating Per Petterson. He insists on using a-endings in the preterite (a-

endinger), for instance – sykla, børsta. If this were replaced in Serbian with the forms of

the perfect tense ending in “ô” (išô, probô), it would have a completely different

connotation. On the level of sociolect, these problems can be solved lexically, not

necessarily grammatically. However, the dialects and their significance can neither be

explained nor transferred (J. Loma, personal communication, July 7, 2018).

T-V distinction is challenging for translation as it is not as strongly rooted in the

Scandinavian languages as it is in Serbian. The translator‟s task is to recognize

intuitively when the distinction should be introduced in the text and when it can be

avoided. The Scandinavians rarely use T-V distinction to mark the differences in

hierarchy in the working environment, age differences or politeness. The reason T-V

distinction has such implications on translation is that there are certain phenomena in

culture which, in order to be well understood and translated, require a close and

thorough knowledge of the culture. For instance, familiarity can be translated. Some

distinctions in Serbian, e.g. the hierarchical relations between the employer and

employees, should be preserved by introducing the Serbian forms “Vi” and “ti”,

regardless of the original text (S. Vuković Petrik, personal communication, July 4,

2018).

Cultural references that are specific to a particular culture represent another

difficulty – for instance, the translation of bankebrett (kucaljka) in Naivan. Super (Naiv.

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Super) by Erlend Loe (2003) (S. Vuković Petrik, personal communication, July 4,

2018). They usually need to be additionally explained, adapted or even removed from

the text. Fiction, on the other hand, does not allow many interventions, as the tone and

atmosphere of the literary work need to be preserved. In such cases, the easiest solution

is to introduce a footnote. Historical and geographical references are usually easy to

translate. However, if these references are interwoven in the text in a way that it

conveys a certain emotional message and the reader is not aware of the historical

context, the original meaning can lose its connotation by introducing additional

information in the footnote. Historical references that deal with the notion of collective

guilt are emotionally untranslatable, although the information can be transmitted from

one culture to another. The translator‟s main task is to make a distinction between what

is and what is not commonly known for an average reader. This is particularly the case

with translations that deal with Denmark‟s historical supremacy over Greenland. The

system of footnotes and annotations mentioned by Appiah as a method of providing a

“thick translation” or a “thick description” (Appiah, 2012, p. 341) of the culture

translated is in accordance with what the interviewees mentioned.

Scandinavian religious heritage is deeply rooted in their cultural identity,

although they perceive their societies as secular (R. Kosović, personal communication,

July 5, 2018). As the Scandinavian countries did not have radical ideological or cultural

splits, their religious heritage is monolithic, which makes it difficult to translate. This is

mostly visible in the use of Scandinavian swear words.

Regarding the question of the necessary level of adaption, the more poetic the

text is, the more difficult the translation act is. The same goes for texts that are

minimalistic in their style and language, as they sometimes sound too reduced when

translated into Serbian without any interventions. Poetry is the most difficult to

translate, as it represents the biggest shift from the original. Translation of philosophy

demands that the translator is well acquainted with the philosopher and his thought flow

in order to translate the messages and content accordingly. Non-fiction, on the other

hand, is loaded with intertextuality that needs to be recognized by the translator (S.

Vuković Petrik, personal communication, July 4, 2018).

The translators agreed that the act of translation is a form of creative process,

where both deconstruction and reconstruction of the text happens. These adaptions can

be employed both consciously and unconsciously. The act of deconstruction is not

purely intellectual, but also intuitive and creative.

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ANALYSIS OF IMPORTED NARRATIVES – NORTHERN EXOTISM AND CONDEMNATION TO

HEAVEN

It appears that the representation of Scandinavia supported by publishers is

somehow inherently illogical. It represents a hybrid, a Frankenstein, split between two

value attitudes – Northern Exotism and Condemnation to Heaven. The perspective of

exotism can be found within the represented attitudes towards nature and high

appreciation of one‟s individuality almost verging on the intention to deliberately isolate

oneself from the modern society. The question of the Northern exoticism is most visible

the Scandinavian crime novel – Nordic noir. Taking into consideration that the

Scandinavian welfare states are known as the countries with the lowest crime rates

(Balvig & Kyvsgaard as cited in Agger, 2008), Nordic noir can be regarded as a broader

cultural phenomenon and understood as a response to the growing neoliberalism from

the 1980s onward:

[U]nfortunately, because of economic necessities, this social democratic

system is approaching its end. It cannot work in that way. There is,

radically, a new level of capitalism where everything changes. The left

is not yet aware of what 1990 meant. It was that all models – the

communist state model, the social democratic model, also this

immediate democracy model – have failed. (Ţiţek, 2013, p. 79)

Based on the responses provided by the publishers, because of the focus on the

inner life in Scandinavian literature and the dark atmosphere of the Nordic noir, this

literature is regarded as “exotic”, as the representation of the Scandinavian region in

these fictional texts collides with the largely positive hetero-image of Scandinavia.

How narratives of Northern Exotism and Condemnation to Heaven correlate can

be seen on the example of Erlend Loe‟s Doppler (Lu, 2005). The novel functions as a

sarcastic social critique which points out the issues and shortcomings of the consumerist

society and its influence on the historical subject. The main character is Andreas

Doppler, who after being informed of his father‟s death and confronted for the first time

with things he cannot control, decides to break social norms and rules, rejects the

prescribed social conventions and returns to the so-called primitive life.

Andreas Doppler is a well-behaved, successful and seemingly happy family man.

He has a good job, nice house, wife and two sweet children, but after learning about his

father‟s death, he experiences an existential crisis for the first time. He realizes that life

is meaningless and that the society he is living in is a threat for his well-being and self-

esteem. Confused and overwhelmed by these sudden reflections about life and death,

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Doppler decides to leave his family, job and society and settles out in the forest. The

forest becomes his new home and retreat from civilisation. He establishes a genuine and

authentic contact with an elk for the first time. At the end, Doppler leaves the forest

together with the elk and heads towards Sweden.

There are two oppositions in the novel. The first is the opposition between before

and now, while the other is spatial, between culture and nature. Together, these

oppositions form a difference between the historical subject‟s existence before in the

culture, and now in the nature. For the main character, the past is represented as his life

in the society, while the present moment (now) is depicted through his life as a hermit in

the forest. The past in the society (i.e. in the culture) has a negative value, while the

present moment is related to an ideal that has positive qualities.

Unlike in civilisation, there are no borders in the forest, and that is why the forest

becomes a more authentic place for the main character. The fact that the narrator feels

more at home when he completely cuts himself off from the society underlines the

general direction the society is moving towards, although this is taken to extremes in the

novel. The modern information society, deeply based on the consumerist ideology,

leads to estranged relations between family members, friends and others.

Moreover, the literary corpus which we have classified as Northern Exotism

usually employs a literary form based on the narration of the past. The narrator, who

narrates from one point in the present time, evokes memories from the past in order to

define his or her identity. For instance, the novel I Curse the River of Time by Per

Petterson (Petešun, 2009) is most explicitly a novel about time and memory and how

these two are formative for the development of the characters in the story. Moreover,

these fragments are re-interpreted the way the narrator believes they happened. The

strong dichotomy between the past and how it is remembered represents a fictional

reconstruction of the unattainable reality. However, it seems that the social and political

reality stays peripheral to the development of the narrative – Per Petterson‟s narrator

makes references to the fall of the Berlin Wall as a metaphor for his disintegrating

marriage, but does not reflect on the further political implications this event could have

for the rest of the global world. The re-interpretation of the past reveals the true nature

and intention of the storyteller, which is to discover his own identity.

Identity problems are frequent in Scandinavian literature and can be seen in

Merethe Lindstrøm‟s Days in the History of Silence (Linstrem, 2015) as well. The main

characters, Eva and Simon, representatives of the Norwegian middle class, appear to

lack the basic apparatus of how to communicate with one another and how to deal with

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their complex personal and cultural backgrounds. They appear even more distant,

reserved and biased in cross-cultural encounters. These characters may serve as a

metaphor for the Norwegian society that is still on its way to becoming an inclusive and

tolerant system. It is a system that has not yet answered to the issues of heterogeneity,

prejudices and xenophobia.

The Readbreast (Nesbe, 2009) addresses the issue of Nazi leftovers in the

Scandinavian welfare states. This is not a unique case where the historical frame of the

Second World War, German occupation of Denmark and Sweden‟s proclaimed

neutrality during the War are taken as the key motifs in Scandinavian crime fiction. The

historical experience of the Second World War in Scandinavia is one of the formative

elements for Scandinavian crime fiction (Nestingen & Arvas, 2011). Furthermore,

Norwegian crime fiction has a stronger tradition of literary figures, such as Harry Hole,

a “hard-boiled private detective”, which has its roots in the Nazi occupation during the

Second World War and the consequent distrust towards the police (Bergman, 2014).

The Readbreast tackles the issue of existent traces of fascism in the

Scandinavian societies. The core of the crime revolves around the (re)interpretation of

history. One of the involved characters is Gudmun Johansen, one of the numerous

soldiers who fought on the German side during the war. Gudmun Johansen, whose

pseudonym was The Redbreast (Rødstrupe), was declared a traitor of his country once

the war ended. This turn of events was incomprehensible and gradually unacceptable for

him. His unwillingness to accept the historical truth has fatal consequences for him, as

he decides to confront what he considers to be historical lies provided by the winning

side.

These elements from the past are mirrored in the present moment and represent a

continuation of the past in the present. The ideology of Nazism and of extreme

nationalism survives through the neo-Nazi values. The Readbreast tries to explain how

it is possible for a neo-Nazi movement to emerge in a welfare state like Norway.

Through the character of Gudmun Johansen, the novel addresses the problems of

“denying the history” (Shermer & Grobman, 2000, p. 30), i.e. asks if the (official)

understanding of history is correct and/or if it is deliberately ignorant to certain

unpleasant historical facts, such as the widespread pro-German attitude in neutral

Sweden during the war? The novel, more importantly, raises a question about the

present national self-knowledge and values that are accepted and values that are

rejected. The accepted and positive value is an obvious concern for the future of the

country, while the rejected values are those of extreme nationalism and fascism and

violent exclusion of certain members of the society from the public life. The overlap

between the elements of the past and present moment contributes to an acute awareness

of time, i.e. of the fact that history tends to repeat itself.

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133

CONCLUSION

Cultural translation is an inevitable part of cultural communication, as it

localizes particular cultural components and elements between individuals, groups and

communities, enriching both cultural environments. Even more so, cultural translation

has become indispensable in the new fragmentary experience of the modern world, as a

way of communicating and defining the Self in relation to the Other. Together with the

processes of globalisation and migrations, cultural translation represents a genuine way

of establishing a dialogue from the in-between position of the new historical subject.

The dominant fictional narratives about Scandinavia imported through the

translation can be categorised as value attitudes ranging from Northern Exotism to

Condemnation to Heaven. These narratives often depict a confused and lost historical

subject and its survival in the modern, fragmentary world. The welfare system‟s

paternalism and dangers of capitalism are often presented with an ironic twist and

critique. This is most visible in Scandinavian crime novels, as they usually constitute an

implicit social-political narrative. This segment of Scandinavian literature in translation

discloses a reverse, darker side of the Scandinavian societies by depicting inhibited

fears, emotional detachment and escalation of violence, questioning the inner darkness,

and pointing out the shortcomings of the welfare system.

On the other hand, Scandinavian fiction has a strongly private and intimate

dimension, and even if there is a sort of a historical reference or frame, which is the case

with Per Petterson, the historical event is only taken as a symbol to reflect upon one‟s

personal destiny. Otherwise, characters do not relate to the outer historical and political

events or are deliberately oblivious to them. The represented characters are estranged –

they feel lonely, even when they are surrounded by others. Even more importantly, they

do not possess the basic apparatus to relate to their closest family members and friends

and consequently to the outer world. More importantly, as the subject of racial, gender

and ethnic Otherness appears rarely in the literary narratives, it seems that the

protagonists themselves feel like outsiders – they are “the Other within”. The main

narrative is, thus, centred around a historical subject, lost in the fragmentary society and

in search of his/her identity. The solution to the identity problems in the Scandinavian

literatures is often found in escapist strategies, i.e. the desire to withdraw from the outer

reality. As elaborated by the publishers, these features of Scandinavian literature are

received by the Serbian audience as “exotic”, which can be understood as a response to

the otherwise internationally spread positive hetero-image of Scandinavia. The

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problems that are experienced in the Balkans seem closer to the identity problems

presented in the fictional texts of modern Scandinavian literature.

The cultural differences between the Scandinavian region and Serbia can be

detected in regard to expressing familiarity, hierarchical structures in society,

significance of language identities, religious heritage and cultural phenomena that are

specifically Scandinavian. The task of the translator remains to localize the text in the

rich linguistic and cultural context of the target language. The means the translator

employs in the process of translation include both the conscious and unconscious

methods of deconstruction and reconstruction of the original text in the new cultural

environment.

The new life of a text in another cultural environment cannot be predicted,

meaning that the original and the translation merge only at one point during their

lifetimes (Bhabha, 1994). However, as the task of the translator is to “surrender to text”

(Spivak, 2012, p. 313), the original text and the translation should overlap at more than

one point. In that sense, there is no big difference between the original and the

translation. This is also obvious in the modern novel, which does not demand that much

adaption or additional explanations, as capitalism and globalisation have contributed to

a creation of a uniform society that is marked by generally the same social and cultural

phenomena.

The significance of cultural translation comes under the spotlight in the context

of recent events of border closure and xenophobia. Accordingly, cultural translation has

an educational and transformative dimension. Moreover, it is a powerful tool in raising

the awareness and knowledge about the historical subject‟s fragmentary world

experience and position from the in-between spaces of cultures. It provides us with the

necessary apparatus to communicate our inner selves and understand the Other, that is,

to grasp foreignness, alterity and otherness. Learning and accepting the rich differences

of human life in culture is, then, the main goal of cultural translation.

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135

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Paper presented at SMID‟s conference, Haraldskær, Denmark. Retrieved from:

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ural_citizenship

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reader (212–235). London: Routledge.

Benjamin, W. (2012). Translator‟s Task. In L. Venuti (ed.), The translation studies

reader (75–83). London: Routledge, 2012,.

Bergman, K. (2014). Swedish crime fiction: The making of Nordic noir [Kindle

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Linstrem, M. (2015). Dani u povesti tišine. Beograd: Geopoetika.

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Loftsdóttir and L. Jensen (eds.), Crisis in the Nordic Nations and Beyond. At the

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Fictions) (1–35). Cardif: University of Wales Press.

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Rajić, Lj. (2008a). Skandinavska knjiga u prevodu na srpskohrvatski jezik. Monografije

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Rogaĉ-Mijatović, Lj. (2015). PrevoĎenje kultura u perspektivi meĎunarodnih kulturnih

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137

APPENDIX

Table 1: Danish literature in Serbian translation (1988–2018)

Name of author Number of

translated units Genre

Adler-Olsen, Jussi 6 adult fiction

Adolphsen, Peter 1 adult fiction

Andersen, Leif Esper 1 adult fiction

Blixen-Finecke, Karen Christensen 2 adult fiction

Bollman, Birgitte 1 non-fiction

Breinholst, Willy 6 adult fiction

Brown, Cindy Lynn 1 poetry

Dalsgaard, Marius 1 adult fiction

Djørup, Adda 1 adult fiction

Dürr, Morten & Hornemann Lars 1 illustrations

Eriksen, Jens-Martin 4 adult fiction

Eriksen, Jens-Martin & Stjernfelt,

Frederik 1 non-fiction

Foss, Kristian Bang 1 adult fiction

Grøndahl, Jens Christian 2 adult fiction

Hav, Nils 3 poetry

Helle, Helle 1 adult fiction

Hermann, Iselin C. 2 adult fiction

Hesselholdt, Christina 3 adult fiction

Høeg, Pete 4 adult fiction

Hørslev, Lone 1 adult fiction

Jansen, Børge 1 adult fiction

Jensen, Johannes Vilhelm 1 adult fiction

Jørgensen, Johannes Jens 1 non-fiction

Jensen, Henrik Juu 1 adult fiction

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Juul, Jesper 1 non-fiction

Kaaberøl, Lene 4 children‟s literature

Klougart, Josefine 1 adult fiction

Kock, Hal 1 non-fiction

Larsen, Marianne 1 poetry

Leine, Kim 2 adult fiction

Liversage, Toni 2 non-fiction

Lundbye, Vagn 1 adult fiction

Lång, Line-Maria 1 adult fiction

Mešković, Alen 1 adult fiction

Michaelis, Karen 3 adult fiction

Muniam, Alfaker 1 adult fiction

Nielsen, Kaspar Colling 1 adult fiction

Nordbrandt, Henrik 1 adult fiction

Nors, Dorthe 1 adult fiction

Rasmussen, Halfdan 1 poetry

Roulund, Grete 1 adult fiction

Seeberg, Peter 1 adult fiction

Sonnergaard, Jan 1 adult fiction

Stangerup, Henrik 1 adult fiction

Strid, Jakob Martin 1 illustrations / children‟s

literature

Tafdrup, Pia 1 adult fiction

Thomsen, Martinus 1 non-fiction

Thorup, Mikkel 1 non-fiction

Varmer, Hjørdis 1 children‟s literature

Voetmann, Harald 1 adult fiction

Weiss, Birte 1 non-fiction

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139

Table 2: Norwegian literature in Serbian translation (1988–2018)

Name of author Number of

translated units Genre

Angell, Henrik August 3 non-fiction

Andersen, Stig Mass 1 adult fiction

Anderson, Roj 1 non-fiction

Askildsen, Kjell 4 adult fiction

Bakke, Gunstein 1 adult fiction

Belsvik, Rune 2 adult fiction

Bergum, Eivor 1 adult fiction

Bjerke, Ole 1 non-fiction

Bjørkvold, Jon-Roar 1 non-fiction

Bjørnson, Bjørnstjerne 1 non-fiction

Bjørnstad, Ketil 1 adult fiction

Blom, Kirsti 1 adult fiction

Braa, Knut A. 1 adult fiction

Christensen, Lars

Saabye 5 adult fiction

Dahle, Gro 2 poetry; short stories

Eide, Hilde & Tom 1 non-fiction

Endsjø, Dag Øistein 1 non-fiction

Eriksen, Thomas

Hylland 3 non-fiction

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Eriksen, Trond Berg 2 non-fiction

Espedal, Tomas 1 non-fiction

Egner, Tørbjørn 1 drama

Enger, Thomas 1 adult fiction

Faldbakken, Matias 1 adult fiction

Farbrot, Audun 1 non-fiction

Figuerido, Ivo de 2 non-fiction

Frobenius, Nikolaj 1 non-fiction

Færøvik, Torbjørn 1 non-fiction

Fosse, Jon 2 poetry; adult fiction

Fossum, Karin 5 adult fiction

Galtung, Johan 1 non-fiction

Gotaas, Thor 1 non-fiction

Grelland, Hans Henrik 1 non-fiction

Grenness, Carl Erik 1 non-fiction

Gaarder, Jostein 9 adult fiction

Grytten, Frode 2 adult fiction

Hammer, Espen 1 non-fiction

Handal, Gunnar 1 non-fiction

Hem, Mikal 1 non-fiction

Heap, Ken 1 non-fiction

Heffermehl, Fredrik S. 1 non-fiction

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141

Holm, Solrun 1 non-fiction

Høystad, Ole Martin 1 non-fiction

Hamsun, Knut 13 adult fiction

Hansen, Erik Fosnes 1 adult fiction

Harstad, Johan 1 adult fiction

Haugen, Tormod 2 children‟s literature

Heyerdahl, Thor 1 non-fiction

Horst, Jørn Lier 1 adult fiction

Hovland, Ragnar 1 children‟s literature

Hødnebø, Tone 1 poetry

Ibsen, Henrik 6 drama

Jacobsen, Roy 2 adult fiction

Killén, Kari 1 non-fiction

Kjelstadli, Knut 1 non-fiction

Kval, Karl-Erik 1 non-fiction

Kleiva, Rønnaug 2 adult fiction

Knausgaard, Karl Ove 4 adult fiction

Kveine, Yngve 1 adult fiction

Kverneland, Steffen 1 illustrations / comic book

Lauveng, Arnhild 1 non-fiction

Levin, Irene 1 non-fiction

Løvgren, Johan Filip 1 non-fiction

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Løveid, Cecilie 1 drama

Loe, Erlend 10 adult fiction

Lygre, Arne I. S. 1 adult fiction

Martinsen, Turid

Elisabeth 2 non-fiction

Melve, Leidulf 1 non-fiction

Mjeldheim, Leiv &

Lillefjord, Sølvi &

Sølvberg, Erik

1 non-fiction

Monsen, Nina Karin 1 non-fiction

Mønnesland, Svein 1 non-fiction

Neumann, Iver B. 1 non-fiction

Newth, Eirik 1 non-fiction

Nortvedt, Finn 1 non-fiction

Nilsen, Kjell Arild 1 non-fiction

Nielsen, Unni 1 adult fiction

Olsen, Bjørnar 1 non-fiction

Olsen, Bjørn Gunnar &

Michelet, Jon 1 non-fiction

Osland, Erna 1 children‟s literature

Ørstavik, Hanne 1 adult fiction

Parr, Maria 1 children‟s literature

Peers, Bobbie 1 adult fiction

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143

Petterson, Per 4 adult fiction

Pollen, Geir 1 adult fiction

Randalson, Gorlan 1 non-fiction

Ravatn, Agnes 1 adult fiction

Reinert, Erik S. 2 non-fiction

Repstad, Pål 1 non-fiction

Sandmo, Agnar 1 non-fiction

Selboe, Tone 1 non-fiction

Skirbekk, Gunnar &

Gilje, Nils 1 non-fiction

Svendsen, Lars 8 non-fiction

Seierstad, Åsne 2 non-fiction

Schoulgin, Eugene 2 adult fiction

Skomsvold, Kjersti

Annesdatter 1 adult fiction

Solstad, Dag 3 adult fiction

Thoresen, Knut Flovik 1 non-fiction

Ullman, Linn 1 adult fiction

Ulven, Tor 1 poetry

Undset, Sigrid 1 adult fiction

Vesaas, Tarjei 1 poetry

Vik, Bjørg 1 adult fiction

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Vold, Jan Erik 1 poetry

Wassmo, Herbjørg 2 adult fiction

Wiese, Jan 1 adult fiction

Ælnes, Karsten 1 non-fiction

Ørstavik, Hanne 1 adult fiction

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145

Table 3: Swedish literature in Serbian translation (1988–2018)

Name of author Number of translated

units Genre

Adler, Peter 1 non-fiction

Adolfson, Eva 1 adult fiction

Ahlbom, Jens 1 children‟s literature

Andersson, Lena 2 adult fiction

Anyuru, Johannes 1 poetry

Asptjärn, Åsa 1 young adults fiction

Axelsson, Majgull 1 adult fiction

Bakhtiari, Marjaneh 1 adult fiction

Backman, Frederik 2 adult fiction

Benedictsson,

Victoria

1 adult fiction

Bergman, Ingmar 5 adult fiction

Bilt, Karl 1 non-fiction

Bylund, Gösta 2 non-fiction

Dagerman, Stig 2 adult fiction

Edwardson, Åke 1 adult fiction

Ekelöf, Gunnar 1 poetry

Engdahl, Horace 1 poetry

Enquist, Per Olov 6 adult fiction

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Falkman, Kari 1 adult fiction

Fioretos, Aris 1 adult fiction

Frederiksson,

Marianne

1 drama

Frostenson, Katarina 2 poetry

Gedda, Kristina

Hjertén von

1 non-fiction

Granholm, Emma 1 young adult fiction

Gredeby, Nils 1 drama

Guillou, Jan 1 adult fiction

Gunnarsson, Hans 1 adult fiction

Hallberg, Ulf Peter 2 non-fiction

Hedlund, Tom 2 non-fiction

Heidenstam, Verner

von

1 adult fiction

Henschen, Helena 1 adult fiction

Holm, Staffan

Valdemar

1 drama, stage performance

Holmqvist, Ninni 1 adult fiction

Johnson, Emil 1 poetry

Johnson, Eyvind 1 adult fiction

Jörgensdotter, Anna 1 adult fiction

Jäghult, Bo 1 non-fiction

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147

Kadefors, Sara 2 children‟s literature

Kandre, Mare 1 adult fiction

Kellerman, Martin 2 adults – comic graphic

novel

Khemiri, Jonas

Hassen

2 adult fiction

Kimselius, Kim M. 3 adult fiction

Klinting, Lars 3 picture book

Kraus, Irena 1 drama, stage performance

Lagerkvist, Pär 13 adult fiction

Lagerlöf, Selma 1 adult fiction

Larsmo, Ola 1 adult fiction

Larsson, Stieg 4 adult fiction

Leijd, Helene 1 poetry

Lind, Åsa 2 children‟s literature

Lindgren, Astrid 22 children‟s literature

Lindgren, Barbro 1 children‟s literature

Lindgren, Torgny 1 adult fiction

Lindqvist, John

Ajvide

1 adult fiction

Lugn, Kristina 1 drama

Lundell, Ulf 1 poetry

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Lundgren, Maja 1 adult fiction

Mannheimer, Sara 1 adult fiction

Mankell, Henning 4 adult fiction

Marklund, Liza 2 adult fiction

Mattson, Ellen (1) 1 adult fiction

Mazetti, Katarina 2 adult fiction

Moodysson, Lukas 1 adult fiction

Natt och Dag, Niklas 1 adult fiction

Niemi, Mikael 1 adult fiction

Nilsson, Frida 3 children‟s literature

Nordberg, Michael 2 non-fiction

Nordqvist, Sven 1 picture book

Ollmark, Lena 1 children‟s literature

Pleijel, Agneta 1 adult fiction

Rådström, Niklas 1 adult fiction

Sandberg, Kristina 1 adul fiction

Sem-Sandberg, Steve 2 adults fiction

Setterlind, Bo 1 poetry

Sjoberg, Patrik 1 non-fiction

Svensson, Leif 1 non-fiction

Söderberg, Hjalmar 2 adult fiction

Söderberg, Lasse 1 poetry

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149

Stark, Ulf 5 children‟s literature

Stridsberg, Sara 3 adult fiction

Strindberg, August 6 drama; adult fiction

Sundberg, Greta 1 young adults - fiction

Svensson, Lucas 1 drama, stage performance

Swärd, Anne 1 adult fiction

Taikon, Katarina 2 children‟s literature

Thydell, Johanna 1 young adult fiction

Tranströmer, Thomas 3 poetry

Uusma Schyffert, Bea 2 drama, stage performance

Vallgren, Carl-Johan 1 adult fiction

Widmark, Martin 1 children‟s literature

Wieslander, Jujja 4 children‟s literature

William-Olsson,

Magnus

1 poetry

Öijer, Bruno K. 1 poetry

Östergren, Klas 1 adult fiction

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RUŢICA S. RADULOVIĆ

OD SEVERNE EGZOTIKE DO OSUDE NA RAJ: KULTURNO PREVOĐENJE I

KNJIŢEVNA REPREZENTACIJA SKANDINAVSKIH ZEMALJA U LOKALNOM

SRPSKOM KONTEKSTU

Rezime: Kulturno prevoĊenje ne bavi se lingvistiĉkim transferom jedinica, već

transferom, transformacijom i prevoĊenjem istorijskog subjekta iz jednog politiĉkog i

kulturnog stanja u drugo. Time, ĉin prevoĊenja postaje kulturni proces, a ne tekstualni

proizvod. Shodno tome, osnovni razlog kulturnog prevoĊenja jeste migracija ljudi ili

subjekata. Savremena skandinavska društva poznata su po svom multikulturnom obliku

i vrednostima drţave socijalne zaštite – demokratije, tolerantnosti, poštovanja razlika.

Ipak, namera rada je da kroz tematsku analizu uvezenih knjiţevnih narativa u prevodu

sa skandinavskih jezika na srpski iznese nove naĉine reprezentacije skandinavskih

društava, koji se nuţno ne poklapaju sa vrednosno neutralnom do vrednosno pozitivnom

slikom skandinavskih zemalja. Ove dominantne narative oznaĉili smo kao severnu

egzotiku i osudu na raj, u kojima se uobiĉajene vrednosti, tradicionalno vezane za ovaj

region (jednakost, sigurnost, solidarnost), dekonstruišu ili relativizuju. Time analizirani

segment skandinavskih knjiţevnosti u prevodu otkriva tamniju stranu ovih društava,

prikazujući inhibirane strahove, otuĊenost, porast nasilja, unutrašnji mrak i nedostatke

drţave socijalne sigurnosti. Pitanja kulturne neprevodivosti, kao i prevodilaĉkih

intervencija zarad podizanja nivoa razumevanja teksta izmeĊu dve kulturne sredine,

znaĉajno su smanjena i odnose se na manje razlike u svakodnevnim obiĉajima, izrazima

i gestovima. Ovo je naroĉito vidljivo na primeru modernog romana, s obzirom da su

kapitalizam i globalizacija doprineli stvaranju jednog priliĉno uniformnog društva, koje

se lako meĊusobno prepoznaje.

Kljuĉne reĉi: kulturno prevoĊenje, kulturna neprevodivost, savremena

skandinavska knjiţevnost.




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151


DOI: 10.5937/reci1912151B

UDC: 821.131.1.09-14 MikelanĊelo Buonaroti

Luigi E. Beneduci*

Istituto di Istruzione Superiore – Liceo Classico “N. Carlomagno”, Lauria (PZ)

Italia

Marija N. Vujović

Škola stranih jezika „Logos“, Beograd

“GL’INFINITI PENSIER MIE D’ERROR PIENI”-

PECULIARITÀ PETRARCHISTE NELLE “RIME” DI

MICHELANGELO - **

Abstract: Alla luce del più recente dibattito critico, il Petrarchismo

cinquecentesco si affranca dalla più semplice dicotomia tra norma e scarto,

somiglianza e differenza, imitazione e deviazione rispetto al modello di Petrarca

o alla codificazione bembesca, per qualificarsi come movimento complesso e

composito, in cui è necessario individuare tanto costanti significative quanto

altrettanto significative varianti.

Nell‟ambito di questa dialettica si analizzano le Rime di Michelangelo

Buonarroti rispetto all‟originario esempio dei Rerum vulgarium fragmenta: si

evidenzia così come il genio michelangiolesco distorce il modello di riferimento

fornendo ad esso una deviazione in senso materico, tragico ed espressionistico,

piuttosto che offrire l‟armonico esito del petrarchismo di stretta osservanza.

* [email protected]

** Pur nella comune concezione, elaborazione e stesura, i parr. 1–4 sono da riferire al dott. L.

Beneduci; i parr. 5–6 e gli apparati alla dott.ssa M. Vujović

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152 L U I G I E . B E N E D U C I

Eppure, Michelangelo realizzerà questo effetto impiegando la stessa

strumentazione retorica ed espressiva di Petrarca, della quale si presenta qui

un‟analisi comparativa, esemplificata da un nutrito elenco di loci, relativi alle

figure dell‟antitesi, dell‟ossimoro, della dittologia sinonimica e ad un ampio

ventaglio di metafore e scelte lessicali.

Parole chiave: Michelangelo, Petrarca, Petrarchismo, Cinquecento,

intertestualità, figure retoriche.

1. IL FENOMENO DEL PETRARCHISMO

Il Petrarchismo, ossia l‟imponente fenomeno di imitatio-aemulatio delle forme,

dello stile, dei temi, della lingua e della stessa struttura del Canzoniere di Petrarca,

iniziato già nel XV secolo (Comboni e Zanato, 2017) e portato a massima espansione

nel corso del XVI con diffusione sia in Italia che in Europa, è stato negli ultimi anni

oggetto di un interessante dibattito critico teso a ridefinirne i caratteri e ad ampliarne i

contorni, fino a identificare sotto il segno del petrarchismo l‟intera produzione lirica del

Cinquecento, che da esso sarebbe influenzata, per somiglianza o per contrasto, secondo

vari gradi e un‟ampia serie di sfumature.

La fortuna di Petrarca, infatti, fin da subito fu tanto rapida quanto ampia: già tra

Tre e Quattrocento ne sorgono imitatori, ma poeti come l‟Aquilano, il Tebaldeo o il

Cariteo avevano favorito una prima interpretazione di Petrarca poeta “gotico” che, per

la sua preziosità, convenzionalità e stilizzazione espressiva, come dirà più tardi Georg

Weise, “rimane fedele alla tradizione trobadorica e stilnovistica”, la quale pone

l‟accento sui “concetti di raffinatezza aulica e di esaltazione trascendentale della donna”

(1956, p. 47).

È proprio contro questa immagine che reagisce il Bembo, il quale fornisce una

lettura rinnovata dell‟esperienza di Petrarca, presentato come modello assoluto, sia

morale che artistico, di una passione amorosa reinterpretata in chiave platonica come

iter che conduce dal peccato terreno alla salvezza trascendente: l‟operazione inizia con

l‟edizione aldina del Canzoniere (1501), quindi con i dialoghi dedicati all‟amor

platonico degli Asolani (1505), poi con le Prose della volgar lingua (1525), che

indicano nella lingua di Petrarca l‟idioma per antonomasia della poesia: se questa

proposta risulterà maggioritaria nella lirica dal primo quarto del Cinquecento in poi, lo

dovrà, infine, alla concreta offerta di una modellizzazione già pronta all‟uso ed al riuso

con le Rime del Bembo stesso.

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153 “ G L ’ I N F I N I T I P E N S I E R M I E D ’ E R R O R P I E N I ” - P E C U L I A R I T À

P E T R A R C H I S T E N E L L E “ R I M E ” D I M I C H E L A N G E L O -

La variazione rispetto all‟imitazione di secondo grado del Bembo, però, sarà ciò

che caratterizzerà le personalità più rappresentative dell‟età del Rinascimento e del

Manierismo: Michelangelo Buonarroti, Giovanni Della Casa, Luigi Tansillo e Torquato

Tasso, insieme ad altri, assumono una spiccata individualità.

A un analogo grado di originalità assurgono anche le poetesse (come Veronica

Franco, Gaspara Stampa, Vittoria Colonna o Isabella Morra), che si discostano dal

canone imposto non fosse altro che per il ribaltamento di genere dei ruoli tra amante e

amata, per la diversificata condizione sociale (si va dalla nobildonna alla cortigiana), ma

soprattutto per l‟inaudito status antropologico e culturale di donne a cui viene data, per

la prima volta, facoltà di esprimersi mediante la scrittura in maniera così ampia,

quantitativamente e qualitativamente, da non potersene citare precedenti nella storia

letteraria. Possibilità innovativa che, se da un lato pare realizzare un certo allineamento

della lirica femminile cinquecentesca all‟imitazione del modello petrarchesco, dall‟altro

“lavora a ben vedere più sulla differenza che sull‟omologazione”, in primo luogo

mediante “un modo diverso di praticare e forse addirittura di concepire il linguaggio”, in

una maniera tale che “sbilancia e addirittura sovverte, dal di dentro, il meccanismo della

tradizione, il quale subisce una scossa violenta sebbene dissimulata e poco

appariscente”.1

Inoltre, a livello più generale, in letteratura, si è a lungo fatto riferimento ad una

distinzione interna alla poesia rinascimentale, che vedeva da un lato la riproduzione più

o meno libera dell‟opera di Petrarca che abbiamo tratteggiato, e dall‟altro persino forme

poetiche decisamente “anti-petrarchiste” ed “anticlassiciste”, le quali, per definizione,

evidenziavano un chiaro intento di allontanarsi dal modello dominante. Le possibilità, in

questo senso, erano molteplici: ci si poteva rivolgere ad un volgare locale, di forte

impronta dialettale (Ruzante), oppure al latino maccheronico (Folengo), e persino ad

una lingua burlesca in grado di produrre un simil-petrarchismo strampalato e insensato

(Berni).

Oggi però questo paradigma è oggetto di rinnovata riflessione, tesa a rendere

meno netta la vulgata “antinomia livellante del modello e dell‟eccezione”: la lirica

1 La citazione è tratta dalla introduzione di Monica Farnetti al volume collettivo a cura sua e di

Laura Fortini, Liriche del Cinquecento, Guidonia, Iacobelli Ed., 2014, p. 13: si tratta di

un‟interessante antologia dei testi di Isabella Andreini, Vittoria Colonna, Veronica Franco,

Veronica Gambara, Chiara Matraini, Isabella Morra, Gaspara Stampa, Laura Terracina, presentati

e commentati da Adriana Chemello, Tatiana Crivelli, Marco Dorigatti, Monica Farnetti, Laura

Fortini, Maria Antonietta Grignani, Giuliana Ortu, Deanna Shemek; opera che si consiglia per un

utile approfondimento del tema.

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rinascimentale viene sottratta alla “immagine corrente di fenomeno univoco e

compatto”, per essere inserita in “un quadro ben più articolato e dinamico di esperienze”

che ha indotto a parlare piuttosto di una “pluralità” di esperienze petrarchiste, quando

non direttamente di “petrarchismi” (Forni, 2011, p. 7).

2. PLURALITÀ DEL PETRARCHISMO

Lo studio di Giorgio Forni sulla “pluralità del petrarchismo” ci fa intravedere

almeno tre possibili posizioni: da un primo punto di vista, esemplificato da Stefano

Jossa (citato in Forni, 2011, pp. 8–9), si può sostenere che “petrarchisti ed

antipetrarchisti sono tutti parte di uno stesso sistema”, per cui persino l‟antipetrarchismo

sarebbe un “fenomeno interno al petrarchismo”; quest‟ultimo si mostrerebbe quindi

ricettacolo di un “insieme plurale di esperienze” e persino della sua stessa negazione.

Ha sostenuto esplicitamente l‟autore: “L‟antipetrarchismo è la differenza che ribadisce

l‟identità: ripete le regole del sistema, rovesciandole, senza mai abbatterle, perché è su

quelle regole che si fonda l asua stessa identità” (Jossa, 2007, p. 204). L‟approccio di

Roberto Gigliucci (citato in Forni, 2011, p. 9), d‟altra parte, porta ad identificare in

modo rigoroso le numerose sfumature possibili di un “petrarchismo plurale”, avanzando

proposte di nomenclature per varianti sempre più raffinate e articolate. Terza possibilità

è quella rappresentata dalla posizione di Amedeo Quondam (citato ancora in Forni,

2011, p. 9): lo studioso invita a contemperare le esigenze del “genere”, come “sistema

linguistico e culturale” che va salvaguardato per consentire la concettualizzazione e

l‟interpretazione di un fenomeno articolato come il petrarchismo, e la necessità

dell‟attenta analisi di “ogni singola esperienza individuale, di autore e di singolo atto di

scrittura”, inseguendo esclusivamente la quale, però, si rischierebbe di polverizzare la

comprensione del movimento nella sua globalità, rendendolo del tutto inerte.

Diventa così di estremo interesse riuscire ad elaborare profili individuali inseriti

nel panorama più ampio della lirica del loro tempo: il critico è oggi chiamato a definire

declinazioni singolari di personalità poetiche che non potevano sottrarsi al confronto

con un codice (spesso quello bembesco, più che autenticamente petrarchesco), che era

diventato il linguaggio comune di mezza Europa.

E sarà forse un più ampio confronto sul piano europeo che potrà fare nuova luce

sul petrarchismo, se si riflette che, in tal caso, la generalizzazione bembesca o la

modellizzazione sull‟originale Canzoniere petrarchesco si è dovuta confrontare, per non

dire altro, con apporti linguistici allotri rispetto all‟originale. Non parliamo solo di

tradizioni linguistiche romanze, prossime all‟italiano, come la francese, la spagnola o la

portoghese; ma anche germaniche, come l‟inglese, e slave.

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Non possiamo infatti dimenticare la ricezione trilingue e il libero rifacimento

(italiano, latino e croato) delle opere petrarchesche nell‟ambito della letteratura croata,

sia da parte di anonimi cantori popolari, che da parte di singole personalità.

Si tratta di una ricezione che inizia a partire da un “salmodiante componimento

amoroso” fitto di “stilizzazioni petrarchesche” (Borsetto, 2009, p. 137) attribuito al

notaio e vescovo di Zara Jerolim Vidulić risalente alla metà del XV secolo, passando

per l‟umanista spalatino Marko Marulić (Marco Marulo) con le sue versioni latine e

croate dal Petrarca, per giungere ai ragusani Dţore Drţić e Šiško Menĉetić all‟inizio del

XVI secolo, in epoca pre-bembesca. Il canzoniere di quest‟ultimo, contenuto nella

raccolta manoscritta Ranjinin Zbornik, è “quello maggiormente accostabile all‟opus di

Petrarca”, sebbene l‟imitazione vi si svolga piuttosto come “libera parafrasi” sul piano

contenutistico e come libera resa sul piano formale. Menĉetić, ad esempio, non impiega

i classici endecasillabi del sonetto, ma distici dodecasillabici (Borsetto, 2009, pp. 139–

141).

Altrettanto esemplari le successive Rime volgari e diverse (1549) di Ludovico

Pascale, di Cattaro nella Dalmazia romana, scritte in volgare italiano. La sua opera, pur

rappresentando “la forma più matura e completa di adesione al petrarchismo bembiano”,

al contempo se ne distacca realizzando una “dissoluzione della forma canzoniere” come

organica struttura di liriche (Borsetto, 2009, pp. 151–152).

Una miscela di “allusione e competizione” quali “costanti del processo

imitativo” caratterizzano, infine, anche nella seconda metà del Cinquecento, l‟opera del

ragusano Dinko Ranjina (Domenico Ragnina), autore bilingue, in italiano e croato, di 24

sonetti inseriti nel Secondo volume delle rime scelte da diuersi eccellenti autori

(Venezia, 1563) e nei Pjesni razlike (Rime diverse, Firenze, 1563) (Borsetto, 2009, p.

154).

Insomma, i risultati più originali e proficui per la comprensione del fenomeno

petrarchismo, nascono dallo svelamento di questa delicata dialettica tra norma e scarto,

somiglianza e differenza, imitazione e deviazione, nella cornice di un movimento che

oramai appare sempre più chiaramente complesso e composito, e in cui è necessario

individuare tanto costanti significative quanto altrettanto significative varianti: sarà

infatti “ogni nuova scrittura a sostenere e rimodellare continuamente il sistema

letterario” consentendo di “aprire inattesi percorsi di senso” (Forni, 2011, p. 13).

È proprio seguendo questa direzione di analisi che si sviluppano le pagine

seguenti, che saranno dedicate al confronto linguistico, stilistico e retorico tra

Michelangelo e l‟originale fonte petrarchesca. Prima di affrontarle, però, sarà utile

offrire alcune precisazioni che avranno valore sia di metodo che di merito.

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3. IL METODO CONTRASTIVO: “COSE” E “PAROLE” IN MICHELANGELO

Recente espressione del metodo contrastivo è il saggio di Andrea Afribo (2001)

dedicato alla Teoria e prassi della “gravitas” nel Cinquecento, che mostra quanto sia

opportuno, per gli studi sul petrarchismo, proporre una sintesi storicamente,

culturalmente e persino antropologicamente significativa se si vogliono realizzare lavori

che siano ancora vitali e non relegati all‟antiquaria e all‟erudizione.2

Afribo ha individuato nelle categorie bembesche di “gravità” e “piacevolezza”

una coppia di strumenti concettuali in grado di porre una luce radente sull‟intero

fenomeno, sia sul piano teorico della trattatistica che pratico della produzione lirica, in

modo da poter così evidenziare particolari altrimenti invisibili. Per il Bembo, se la

piacevolezza era tipica di Cino da Pistoia e la gravitas invece di Dante, Petrarca

eccelleva in entrambe:

Perciò che egli può molto bene alcuna composizione essere piacevole e

non grave, e allo ‟ncontro alcuna altra potrà grave essere, senza

piacevolezza; sí come aviene delle composizioni di messer Cino e di

Dante, ché tra quelle di Dante molte son gravi, senza piacevolezza, e tra

quelle di messer Cino molte sono piacevoli, senza gravità. [...] Dove il

Petrarca l‟una e l‟altra di queste parti empié maravigliosamente, in

maniera che scegliere non si può, in quale delle due egli fosse maggior

maestro (Bembo, 1978, p. 130)

così si esprimeva Bembo nel paragrafo IX del secondo libro delle Prose della volgar

lingua. Si delinea qui un sistema assiologico in cui la sola gravità, propria di un

argomento serio, di tipo filosofico, politico o morale, svolto in modo autorevole risulta

spiacevole, mentre la piacevolezza, ossia il pregio letterario, corrisponde alla forma

ideale dal punto di vista fonico e ritmico. Il criterio di giudizio letterario per il Bembo

diventa quindi, la non gravità, o meglio l‟indifferenza verso l‟argomento, per esaltarne

lo stile dolce e vago, la forma soave e delicata: “Non è il senso che interessa, ma il

suono delle parole, non il suono grave ma quello dolce, quello della piacevolezza”

(Afribo, 2001, p. 14). A partire da questo sistema valoriale il lavoro di Afribo evidenzia

come “i due lirici più alti del secolo, Della Casa e […] Tasso, siano tali anche in quanto

si staccano dalla vulgata petrarchista, e un po‟ da Petrarca stesso, e comunque

2 Facciamo nostro il richiamo di A. Quondam che invita gli studiosi a “correlare quel singolo

testo o quel singolo autore a una più generale interpretazione […] della tipologia culturale di cui

pure furono parte attiva” (Quondam, 2015, p. 247).

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nettamente dal Bembo”, poiché hanno restituito, con la scelta di liberarsi dall‟opzione

puramente edonistica, dignità alle “ragioni delle res e del significato” (Mengaldo citato

in Afribo, 2001, pp. 12–15).

Allo stesso modo l‟analisi condotta sul testo delle rime michelangiolesche può

giovarsi della contrapposizione tra le “cose” espresse dallo scultore e le vuote “parole”

dei petrarchisti, già individuata dal Berni nel suo Capitolo a fra Bastian dal Piombo:

“tacete unquanco, pallide viole / e liquidi cristalli e fiere snelle: / e‟ dice cose e voi dite

parole” (Berni, 2003, pp. 29–31); osservata da questo punto di vista si può certo

sostenere l‟originalità di Michelangelo rispetto alla pletora delle passive imitazioni dei

Rerum vulgarium fragmenta, realizzatate a loro volta essenzialmente sulla scorta della

mediazione di Bembo.

Offerte le indicazioni metodologiche necessarie per inquadrare il confronto tra

Michelangelo e la fonte diretta del Canzoniere petrarchesco (più che con la

rielaborazione bembesca), possiamo passare senz‟altro all‟analisi, poiché il

petrarchismo non potrà definirsi mediante astratte generalizzazioni, ma solo dal

confronto tematico e retorico-espressivo con le declinazioni individuali che se ne sono

realizzate.

4. LINEAMENTI DI FILOLOGIA E RICEZIONE MICHELANGIOLESCA

Qualunque riflessione sul petrarchismo/antipetrarchismo michelangiolesco, va

però inquadrata in una preliminare, per quanto sintetica, disamina della ricezione

dell‟opera letteraria del Buonarroti: farlo in questa sede è ancora più arduo, perché

significa tracciare in poche linee, in primo luogo, il complesso percorso di ricostruzione

filologica del canzoniere dell‟autore, quindi delineare un lungo e mutevole interesse

della critica.

L‟analisi può avere inizio con l‟editio princeps delle Rime, che uscì a Firenze nel

1623 per i Giunti, sessant‟anni dopo la morte dell‟artista, Le rime di Michelagnolo

Buonarroti raccolte da Michelagnolo suo nipote, a cura del pronipote Michelangelo il

Giovane; questi ne raccolse solo parzialmente le liriche, realizzando inoltre numerosi

adattamenti per adeguarle ai dettami della Controriforma. Una più ricca edizione

fiorentina, con i testi completi e i frammenti, corredati anche di annotazioni e varianti,

fu quella di Cesare Guasti del 1863 dal titolo Le Rime di Michelangelo Buonarroti,

pittore, scultore e architetto, cavate dagli autografi e pubblicate da Cesare Guasti

accademico della Crusca (Buonarroti, 1863); nel 1897 uscì a Berlino l‟edizione con una

più accurata ricostruzione dei materiali del Buonarroti, Die Dichtungen des

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Michelagniolo Buonarroti, herausgegeben und mit Kritishen Apparate, realizzata dal

filologo tedesco Carl Frey (Buonarroti, 1897); nel 1960 apparve la maggiore edizione

novecentesca delle Rime, quella per Laterza a cura di Enzo Noè Girardi (Buonarroti,

1960 e 1967), che fu anche un importante critico dell‟autore (Girardi, 1974). Questa

edizione funge da riferimento per tutte le stampe contemporanee, tra cui si indicano le

principali: le Rime e lettere curate da P. Mastrocola per la Utet (Buonarroti, 1992 e

2006); le Rime di M. Residori per la Mondadori (Buonarroti, 1998) e quelle di P. Zaja

per la BUR (Buonarroti, 2010). Si segnalano, infine, due recenti e originali imprese

editoriali: il testo, aggiornatissimo, che riunisce in un solo ponderoso volume le Rime e

le Lettere di Michelangelo, frutto del lavoro di G. Masi ed A. Corsaro per Bompiani

(Buonarroti, 2016), corredato di un ricco apparato di varianti, di un sistema di note ai

testi, di un commento per ogni lirica, strumento indispensabile per rileggere l‟intero

corpus; d‟altra parte, abbiamo la raccolta del cosiddetto Canzoniere michelangiolesco,

organizzato da M. C. Tarsi per Guanda (Buonarroti, 2015) che ripropone gli 89

componimenti che Michelangelo aveva fatto copiare negli anni Quaranta del

Cinquecento dal corpus più ampio delle sue poesie, in vista di una raccolta che non fu

mai pubblicata.

Sintetizzare la storia della ricezione critica non è meno impegnativo: già nel suo

tempo, nonostante i componimenti di Michelangelo forzassero, quando non

infrangevano, la norma petrarchista, la poesia dello scultore fu valutata positivamente

dai suoi contemporanei: Francesco Berni nel già citato Capitolo scrisse di lui: “Ho visto

qualche sua composizione / Son ignorante, e pur direi d‟avelle / Lette tutte nel mezzo di

Platone / si ch‟egli è nuovo Apollo e nuovo Apelle” (Berni, 2003, p. 25–28). D‟altra

parte, però, tra Otto e Novecento, quando Foscolo o Croce (1957) si sono espressi

sull‟opera michelangiolesca, hanno dato dell‟autore la definizione limitante di uno

scrittore impreciso e dilettante. Valga l‟esempio del Foscolo, il quale nel saggio

Michelangelo per il New Monthly Magazine (vol IV, 1822) sostiene che i pensieri

bonarrotiani

son sempre giusti, spesso profondi, nuovi talvolta; ma sebbene egli

scriva generalmente con quella precisione e condensamento d‟idee, che

son testimonio di profondità di pensiero, non si esprime peraltro

continuamente con quella perspicuità che non può aversi se non per

costante abitudine di scrivere, né con quella dizione poetica che fa caldi

e luminosi anche i ragionamenti più freddi. (Foscolo, 1953, p. 467)

Va però sottolineato che in un nuovo articolo per la Retrospective Review (vol. XIII,

ottobre 1826), la posizione è mutata, anche se per ragioni non ancora chiare: qui il

Buonarroti è considerato, tra i continuatori di Petrarca, “il più vero e il più degno, quello

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che seppe penetrare più profondamente ed esprimer in modo più chiaro le troppo

sublimi immagini di quel gran maestro della toscana rima” (Foscolo, 1953, p. 495).

La poesia di Michelangelo ha, comunque, a lungo ricevuto un giudizio piuttosto

negativo, venendo concepita quasi come un diario personale dove l‟artista dà sfogo alla

sua interiorità, senza attribuire all‟opera del poeta un valore veramente letterario. Solo

negli anni Sessanta e Settanta del XX secolo, in seguito agli anniversari della morte e

della nascita, e grazie agli interventi di critici come Fubini e Binni la produzione

michelangiolesca inizia a essere rivalutata e considerata originale.

Momento di svolta risulta il 1964, quando a proposito delle Lettere, Binni scrive

che,

come gli stessi motivi “pratici” sono intimamente complessi e vivi di

componenti non puramente esterne e grette, così la loro traduzione

energica nelle lettere tanto meglio rivela un fondo personale e

drammatico attraverso la sintassi densa e antiornamentale. […] Se le

cose che vengono dette possono apparire mediocri per il loro

“argomento”, l‟impegno intimo e l‟impegno espressivo non sono mai

mediocri. (Binni, 1964, p. 218)

Nello stesso anno l‟idea diffusa di un Michelangelo dilettante della poesia si infrange

contro un saggio di Fubini, che ad un esito espressivo “provvisorio, personale,

semiprivato”, oppone l‟immagine della poesia michelangiolesca come la “riflessione di

uno spirito austero e doloroso su sé medesimo e il mondo” (Fubini, 1992, pp. 833–837).

La critica più recente, acquisita ormai l‟importanza del canzoniere

michelangiolesco, si orienta in modo originale di trovare parallelismi fra le Rime e l‟arte

figurativa di Michelangelo; è il caso di Matteo Residori con “„E a me consegnaro il

tempo bruno‟. Michelangelo e la notte” (Residori, 2005) o di Ida Campeggiani, con il

suo studio variantistico che ribalta il principio del “non-finito” scultoreo nato “per forza

di levare” e propone una poesia michelangiolesca, altrettanto incompiuta, ma “per via di

porre” (Campeggiani, 2012, p. 8).

5. PECULIARITÀ DEL PETRARCHISMO MICHELANGIOLESCO

Circa lo stile delle Rime, a questo punto, la domanda preliminare da porsi, date

tutte le precedenti premesse, sarà: qual è il posto di Michelangelo nell‟ambito di quel

vasto movimento che fu il petrarchismo cinquecentesco? Lo studioso che voglia

analizzare l‟opera di Michelangelo può svolgere il suo percorso di ricerca in due

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direzioni che, come abbiamo visto, sono diametralmente contrapposte: potrebbe provare

tanto che il poeta si collochi nell‟ambito dell‟imitazione petrarchista, quanto

evidenziarne gli aspetti che lo riportano ad una deviazione così marcata da poter essere

definito persino poeta antipetrarchista.

Se si preferisce, si può pensare alla poesia delle Rime come ad un‟originale

mescolanza di entrambe le tendenze:

Né come pertrarchista né come antipertrarchista Michelangelo

Buonarroti ha un rapporto normale con le parole. A Michelangelo

Buonarroti vengono in bocca tutti i possibili generi specie tipi e varietà

di giochi di parole. Gli escono di bocca endecasillabi con una sillaba in

meno, con una sillaba in più e quando il numero delle sillabe è corretto

non sono corretti gli accenti, si torna a endecasillabi non canonici, pre-

petrarcheschi, come quelli che si leggono, con un certo disagio nel

Fiore di Dante Alighieri. (Dossena, 2012, p. 76)

Il petrarchismo di Michelangelo resta indubbiamente atipico e peculiare:

innanzitutto perché la sua produzione poetica non è stata raccolta in un vero e proprio

volume unitario, che segua una trama narrativa, come era tipico di chi volesse

riprodurre il percorso del Canzoniere petrarchesco. D‟altro canto, mentre quest‟ultimo

si sforzava di svolgere il coerente racconto di un diario d‟amore, e ruotava intorno alla

figura di un‟unica donna, la cui presenza si proiettava oltre la morte di lei, le poesie di

Michelangelo sono dedicate, in una costruzione policentrica, a tre diverse persone: alla

nobile poetessa Vittoria Colonna, al giovane aristocratico romano Tommaso Cavalieri e

ad un‟altra donna, di cui il poeta non dice mai il nome e che resterà per tutto il tempo

“la bella e crudele” (Rime 173), agli antipodi della Colonna, definita invece come

“virtuosa e nobile”, “alta e degna”, la sublime “guida spirituale” del poeta (Rime 112,

149, 151, 153).

La poesia di Michelangelo risulta incredibilmente varia, pervasa da un irrequieto

sperimentalismo, sia nei temi che nello stile. È concisa, fino al limite della

comprensibilità, intellettuale, metafisica, caratterizzata dalla sospensione del non finito e

dal rifiuto della dolcezza melodica. Michelangelo è in grado di usare la stessa

strumentazione retorica di Petrarca ma la applica imprimendole una deviazione in senso

materico, quasi da scultore, facendo avvertire nell‟aspetto fonico, ritmico e sintattico un

tono aspro che sembra esprimere la resistenza offerta dalla lingua, invece dell‟armonico

esito petrarchesco.

In tal modo Michelangelo esprime la sua tormentata tensione verso

l‟appagamento spirituale, agognato ma restio a concedersi a chi opera spinto dalle

inclinazioni materiali dell‟arte, della passione amorosa, della gloria terrena. Petrarca

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riesce a superare le medesime difficoltà, nascondendole dietro la dolcezza di una

composizione equilibrata, in uno stile olimpicamente sereno, sebbene lampeggino ad

intermittenza passioni mai sopite.

La sezione seguente della trattazione evidenzia, sotto il peculiare stile

michelangiolesco, antitesi, ossimori, sinonimie e metafore appartenenti alla medesima

impalcatura retorica usata anche da Petrarca.

6. ANALISI RETORICA: FIGURE A CONFRONTO

Prendendo a modello il sonetto 285, si può già dimostrare agevolmente in che

misura Michelangelo fosse un coerente pertrarchista, per quanto appaiono evidenti la

ripresa di espressioni, sintagmi, rime e metafore di Petrarca:

Giunto è già ‟l corso della vita mia ………

con tempestoso mar, per fragil barca, ………

al comun porto, ov‟a render si varca

conto e ragion d‟ogni opra trista e pia.

Onde l‟affettüosa fantasia

che l‟arte mi fece idol e monarca ......

conosco or ben com‟era d‟error carca

e quel c‟a mal suo grado ogn‟uom desia. ..…..

Gli amorosi pensier, già vani e lieti, ........

che „nterrompendo di mia vita il corso (RVF 214,

32)3

di questo tempestoso mare stella (RVF 366, 67)

fra sì contrari venti in frale barca (RVF 132, 10)

non far idolo un nome (RVF 128, 76)

pocho prezando quel ch‟ogni huom desia (RVF 13, 11)

d‟amorosi pensieri il cor ne „ngombra (RVF 10, 12)

da lei ti ven l‟amoroso pensiero (RVF 13, 9),

3 Nel corso del contributo si impiegherà la canonica sigla RVF per riferirsi ai Rerum vulgarium

fragmenta di Petrarca; in particolare le citazioni sono tratte da Petrarca, F. (1996). Canzoniere

(ed. M. Santagata). Milano: Mondadori. In parentesi si esprime il numero progressivo della lirica

nel volume, seguito dal numero del verso citato. Lo stesso vale per le Rime di Michelangelo, tratte

da Buonarroti, M. (2010). Rime, a cura di P. Zaja. Milano: BUR.

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che fien or, s‟a duo morte m‟avvicino?

D‟una so ‟l certo, e l‟altra mi minaccia.

Né pinger né scolpir fie più che quieti

L‟anima, volta a quell‟amor divino

c‟aperse, a prender noi, ‟n croce le braccia. ....

(Rime, 285)

del pensiero amoroso che m‟atterra (RVF 36, 2)

l‟amoroso pensiero (RVF 71, 91)

quelle pietose braccia / in ch‟io mi fido, veggio aperte

anchora (RVF 264, 14–15)

Nei primi quattro versi del sonetto 285 appare la metafora, tipica di Petrarca,

della vita come navigazione, la quale si ripete in RVF più volte: 132, 189, 235 i 272.

Inoltre, la rima con le parole: barca, varca, monarca, carca, è proprio di Petrarca (RVF

235).

6.1 METAFORA

Il seguente elenco di luoghi petrarcheschi, confrontati con corrispondenti passi

dalle Rime del Buonarroti, evidenzia come i due poeti condividano inoltre un ampio

ventaglio di scelte metaforiche, in gran parte consacrate dalla tradizione sia romanza

che classica, le quali a loro volta, forti della diffusione petrarchista, diventeranno topoi

della lirica coeva e successiva al Petrarca.4

4 Per le “catene d‟amore”, ad esempio, basti pensare a Quando eu stava in le tu‟ cathene, una

delle più antiche attestazioni della lirica profana italiana, canzone trascritta tra il 1180 e il 1210 in

area umbro-marchigiana. Il corpo come “prigione” dell‟anima è un topos la cui più famosa

attestazione può rinvenirsi nel Somnium Scipionis, dal De re publica (6, 14) di Cicerone: “Immo

vero - inquit - hi vivunt, qui e corporum vinculis tamquam e carcere evolaverunt”. Altrettanto

diffuse sono le immagini della “vita come navigazione” o dell‟ “amato preso all‟amo”, che si

ritrova in Bernard de Ventadorn (“Aissi col peis que s‟enlaissa al chandora / E no sap re, que s‟es

pres en l‟ama” [“Così come il pesce che si slancia all‟esca / e non sa niente fin che esso è preso

all‟amo”]), o ancora quella del “terrestre limo” per indicare le passioni terrene, che sarà ripresa

2 0 1 9



a. “catene” e “giogo” per “soggezione amorosa”:

riman legato con maggior catena (RVF 8, 14) se tu incateni altrui senza catena (Rime 7, 4)

de le catene mie gran parte porto (RVF 76, 10)

dissi: Ohimè, il giogo et le catene e i ceppi

(RVF 89, 10)

son le catene ove con molti affanni (RVF 266,

10)

sperai riposo al suo giogo aspro et fero (RVF

360, 38)

porgo umilmente all‟aspro giogo il collo (Rime

138, 1)

b. “mille morti” per “grandi sofferenze amorose”:

mi vedete straziare a mille morti (RVF 44,

12)

che provar mille morte ad ora ad ora

(Rime 11, 2)

c. metafora ittica dell‟innamorato catturato come un “pesce all‟amo”:

il cor, preso ivi come pesce a l‟amo (RVF

257, 5)

e per le spezie all‟esca a tte arrivo,

come pesce per fil tirato all‟amo (Rime 15,

3–4)

d. “fonte di pietà” e “pietosa fonte” metafore per Cristo, ma anche per la persona

amata:

al fonte di pietà trovar mercede (RVF 203,

8)

d‟un fonte di pietà nasce ìl mie male

(Rime 16, 2)

tu partoristi il fonte di pietate (RVF 366,

43)

a quel pietoso fonte, onde sìan tutti (Rime

83, 9)

anche dal Casa: “et ben convene / hor penitentia et duol l‟anima lave / de‟ color atri et del

terrestre limo” (Della Casa, 1993, pp. 41–43).

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e. “sole” per “occhi amati”, anche sineddoche per “persona amata”:5

mirando ‟l sol de‟ begli occhi sereno (RVF

173, 1)

cogli occhi di costei, anzo con sole (Rime

40, 2)

cosí sempre io corro al fatal mio sole

degli occhi onde mi vèn tanta dolcezza

(RVF 141, 5–6)

cerco ‟l mio sole et spero vederlo oggi

(RVF 194, 8)

qui chiuso è „l sol di c‟ancor piangi e ardi

(Rime 208, 1)

Quella fenestra ove l‟un sol si vede (RVF

100, 1)

del sol del sol, c‟allor ci spense e tolse

(Rime 47, 6)

altri che ‟l sol ch‟à d‟amor vivo i raggi

(RVF 176, 4)

voi, sole, solo; e così l‟alma tiene (Rime

81, 6)

Dodici donne honestamente lasse,

anzi dodici stelle, e ‟n mezzo un sole (RVF

225, 1–2)

Come luna da sé sol par ch‟io sia,

ché gli occhi nostri in ciel veder non

sanno

se non quel tanto che n‟accende il sole.

(Rime 89,12–14)

far giorno chiar mia oscura notte al sole

(Rime 104, 13)

f. “navigazione” per “vita” e “nave senza guida” per “smarrimento del poeta”:

fra sì contrari venti in frale barca

mi trovo in alto mar senza governo (RVF

132, 10–11)

dal giorno che mie vela (si) disciolse

(Rime 71, 4)

Passa la nave mia colma d‟oblio

per aspro mare, a mezza notte il verno

Giunto è già ‟l corso della vita mia,

5 Bisogna specificare che la suddetta metafora è tradizionale e non di Petrarca. Nonostante ciò,

rappresenta la metafora più imitata nel Petrarchismo del Cinquecento.

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(RVF 189, 1–2) con tempestoso mar, per fragil barca,

al comun porto, ov‟a render si varca

conto e ragion d‟ogni opra trista e pia

(Rime 285, 1–4)

veggio al mio navigar turbati i vènti;

veggio fortuna in porto, et stanco omai

il mio nocchier, et rotte arbore et sarte

(RVF 272, 11–13)

Onde la navicella mie non passa,

com‟io vorrei, a vederti a quella riva

(Rime 45, 13–14)

quasi senza governo et senza antenna

legno in mar, pien di penser‟ gravi et

schivi (RVF 177, 7–8)

qual fragil legno a te stanco rivolto

da l‟orribil procella in dolce calma (Rime

290,3–4)

disarmata di vele et di governo (RVF 235,

14)

g. “terrestre limo” per “passioni mondane”:

senza terresto limo (RVF 366, 116) mie ragion tragge dal terrestre limo (Rime

86, 66)

h. “lacci” per “vincolo amoroso”:

nè per suo mi ritien nè scioglie il laccio

(RVF 134, 6)

disciolto, Amor, quello insolubil laccio

(Rime 281, 3)

al vischio, a‟ lacci di che ‟l mondo è pieno

(Rime 97, 6)

i. “carcere, prigione” per “corpo”:

chiuse „l mio lume „l suo carcer terrestro

(RVF 306, 4)

l‟immortal forma al tuo carcer terreno

(Rime 106, 2)

aprasi la pregione, ov'io son chiuso (RVF

72, 20)

in che carcer quaggiù l‟anima vive (Rime

197, 4)

et la pregione oscura ov‟è ‟l bel lume che del carcer terreno (Rime 264, 5)

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(RVF 105, 63)

j. “velo” e “scorza” per “corpo”:

e là giuso è rimaso, il mio bel velo (RVF

302, 11)

per render bello el mie terrestre velo

(Rime 209, 2)

disciolta di quel velo (RVF 268, 38) più che ‟n alcun leggiadro e mortal velo

(Rime 106, 13)

agli occhi no, ch‟un doloroso velo (RVF

277, 12)

deposto il periglioso e mortal velo? (Rime

161, 6)

Cosí disciolto dal mortal mio velo (RVF

313, 12)

ne fie pel mondo, a trar divo il suo velo

(Rime 188, 3)

qual a vedere il suo leggiadro velo (RVF

319, 14)

Se mortal velo il mio veder appanna (RVF

70, 35)

lasciando il terra la terrena scorza (RVF

278, 3)

or che „l tempo la scorza cangia e muda

(Rime 51, 26)

l‟animo stanco, et la cangiata scorza (RVF

361, 2)

co‟ l‟inculta sua cruda e dura scorza (Rime

152, 8)

Caduto è ‟l frutto e secca è già la scorza

(Rime 158, 5)

Petrarca spesso usa la matafora “manto” e “gonna” per “corpo”, mentre

Michelangelo usa “spoglia”: “lei ch‟avolto l‟avea nel suo bel manto” (RVF 313, 8);

“questa mia grave et frale et mortal gonna” (RVF 349, 11); “discresce e manca ognor

tuo stanca spoglia” (Rime 161, 2).

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k. “l‟alma sciolta / disciolta” per “l‟anima appena liberata dal corpo”:

anima bella da quel nodo sciolta (RVF

305, 1)

chiusi ha qui gli occhi e „l corpo, e l‟alma

sciolta (Rime 224, 1)

L‟acceso amor, donde vien l‟alma sciolta

(Rime243, 12)

Se l‟alma è ver, dal suo corpo disciolta

(Rime 126, 1)

da quel disciolta, c‟a mal grado regge

sol per divina legge,

l‟alma e non prima, allor sol è beata (Rime

192, 2–4)

per rilegar lor l‟alma in ciel disciolta

(Rime 198, 4)

l. “arso / secco legno” o “arbor secco” per “un uomo vecchio”

chè legno vecchio mai non ròse tarlo

(RVF 360, 69)

d‟un arso legno e d‟un afflitto core? (Rime

22, 2)

per trar d‟un arbor secco fronde e fiori

(Rime 22, 37)

Sì come secco legno in foco ardente

(Rime 96, 1)

a l‟ossa che di secco legno sièno (Rime

97, 2)

fien legne secche in un ardente foco (Rime

171, 9)

un legno secco e arso verde torni? (Rime

176, 9)

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m. Michelangelo userà la metafora petrarchesca “verde legno” per “un uomo

giovane” e “verde etate” per “giovinezza”:

Ma ‟l foco a tal figura non s‟unisce;

ché se l‟umor d‟un verde legno estinge,

…….

il freddo vecchio scalda e po‟ ‟l nutrisce,

e tanto il torna in verde etate e spinge,

rinnuova e ‟nfiamma, allegra e

‟ngiovanisce,

c‟amor col fiato l‟alma e ‟l cor gli cinge.

(Rime, 25, 9–14)

e tanto il torna in verde etate e spinge

……..

(Rime 25, 12)

Non può, Signor mie car, la fresca e

verde …..

età sentir, quant'a l‟ultimo passo

(Rime 283,1–2)

tanto più quanto son men verde legno (RVF

271, 11)

tutta la mia fiorita et verde etade (RVF 315,

1)

Da notare, comunque, che la metafora “legno” per “croce” è invece tipica di

Michelangelo: “o carne, o sangue, o legno, o doglia strema” (Rime 66, 9).

Le metafore sopra elencate assumono lo stesso significato e sono state utilizzate

in contesti più o meno uguali da entrambi i poeti. Certo, non sempre è così. Ad esempio,

con la metafora “carta bianca, candido foglio” Michelangelo esprime che è disposto a

ricevere l‟influenza spirituale della donna: “porgo la carta bianca / a‟ vostri sacri

inchiostri” (Rime 162, 7–8); mentre nella poesia di Petrarca la stessa espressione ha un

significato totalmente diverso: “Disegna in me di fuora, / com'io fo in pietra od in

candido foglio, / che nulla ha dentro, e èvvi ciò ch‟io voglio” (Rime 111, 11–13).

Alcune metafore michelangiolesche sono piuttosto tradizionali, come nel caso di

“signor” e “servo” per “persona amata” e “amante”: “quand‟il servo il signor d‟aspra

catena / senz‟altra speme in carcer tien legato” (Rime 25, 1); “mia fedel servità vadia in

2 0 1 9



oblio” (Rime 12, 9). Altre, invece, sono tipiche del solo Michelangelo, come “occhi del

cielo” per “astri”: “se l‟alma per natura / s‟appoggia a chi somiglia / ne gli occhi gli

occhi, ond‟ella scende fore” (Rime 117, 11–13); “onde e chi fusti, il ciel ne diò tal

segno / che scurò gli occhi suoi, la terra aperse” (Rime 298, 9–10). Ulteriore metafora

propria di Michelangelo è “veleno” come “passione amorosa”: “I‟ fe‟ degli occhi porta

al mie veneno” (Rime 24, 1).

Dato il numero delle metafore ed il contesto d‟impiego, simile o identico, che

coincidono tra i due autori, si può a buona ragione concludere che Michelangelo ha fatto

proprio il modello di Petrarca nell‟uso di questa figura retorica.

Secondo Ferroni, si evince, comunque, in questa dialettica, un particolarissimo

caso di “incontro-scontro con il linguaggio petrarchistico, di cui l‟autore avverte

l‟insufficienza nel momento stesso in cui tenta di adattarvisi e piegarvisi”: l‟imitazione

del Petrarca, da parte del Buonarroti, dovette essere una necessità, in quanto

quest‟ultimo non era un intellettuale di formazione letteraria capace di originale

rielaborazione; comunque, per il critico, sebbene “il carattere spesso involuto e difficile

del linguaggio poetico di Michelangelo è in parte dovuto alla sua educazione di

autodidatta, che lo induce a vedere nei modelli poetici dominanti una sorta di scorza

esterna, necessaria per comunicare”, il modello petrachista ortodosso rimane “mai del

tutto commisurabile alla forza dei sentimenti e dei concetti che egli intende esprimere”

(Ferroni, 1991, p. 157).

6.2 ANTITESI E OSSIMORO

Antitesi e ossimoro si possono accostare per l‟impiego comune della

contrapposizione; la prima si realizza tra sintagmi, la seconda all‟interno di uno stesso

sintagma; l‟effetto che producono risulta comunque assai simile: “l‟antitesi si presta a

dare corpo alle inquietudini esistenziali”, come l‟ossimoro può provocare

“l‟inquietudine per l‟inconsueto”, oltre che un effetto di meraviglia (Mortara Garavelli,

2000, pp. 242–244). In entrambi i casi il lettore avverte un profondo turbamento

provocato dalla compresenza di istanze in netta opposizione, da cui viene investito il

poeta ed il lettore.

2 0 1 9


a. interno–esterno

di fuor si legge com‟io dentro avampi

(RVF 35, 8)

di fuor pietosa e nel cor aspra e fera (Rime

169, 3)


169, 3)

così l‟immagin tua, che fuor m‟immolla,

dentro per gli occhi cresce, ond‟io

m‟allargo (Rime 54, 76–77)

b. apre – serra

tal m‟à in pregion, che non m‟apre nè

serra (RVF 134, 5)

a chi „l cor m‟apre e serra (Rime 92, 8)

che lega et scioglie, e „n un punto apre

et serra (RVF 275, 13)

l‟etterno abisso per lor s‟aspre e ssera

(Rime 68, 45)

c. lungo – breve

al camin lungo et al mio viver corto (RVF

15, 6)

a lunga vita, e „l corpo in breve muore

(Rime 58, 6)

quante vuo‟, breve e lungo è ìl viver mio

(Rime 37, 3)

d. morte – vita (nascere- morire)

sí che, s‟io vissi in guerra et in tempesta,

mora in pace et in porto; et se la stanza

(RVF 365 ,9–10)

in me la morte, in te la vita mia (Rime 37,

1)

e ‟n mille luoghi nasce, se ‟n un muore

(Rime 67, 94)

morir m‟è forza, ove si vive e campa

(Rime 73, 13)

e sol per morte si può dir ben nato (Rime

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94, 4)

per vivere e morire un‟altra volta (Rime

126, 4)

In me la morte, in te la vita mia (Rime 37,

1)

E così morte e vita (Rime 124, 5)

l‟un s‟arma di pietà, l‟altro di morte;

questa n‟ancide, e l‟altra tien in vita (Rime

112, 5–6)

vivo al peccato, a mme morendo vivo

(Rime 32, 1)

increscati di me, che morto vivo, (Rime

86, 44)

Vivo della mie morte e, se ben guardo

(Rime 56, 1)

e chi viver non sa d‟angoscia e morte,

(Rime 56, 3)

ché chi vive di morte mai non muore.

(Rime 74, 8)

e. pianto – riso

del mio ben pianga, et del mio pianger

rida (RFV 172, 10)

che da costei, che del mio pianger ride

(Rime 128, 16)

e ‟l riso e ‟l pianto, et la paura et l‟ira

(RVF 32, 11)

ha ‟l pianto e ‟l riso in una voglia sola

(Rime 67, 111)

in riso e ‟n pianto, fra paura et spene (RVF

152, 3)

Fra ‟l riso e ‟l pianto, en sì contrari stremi,

(Rime 155, 14)

per dolci risi, amari e tristi pianti (Rime

113, 4)

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f. dolce – amaro

poi trovandol di dolce et d‟amar pieno

(RVF 173, 5)

de‟ dolci amari pianti de‟ mortali (Rime

272, 10)

move ‟l dolce et l‟amaro ond‟io mi

pasco;(RVF 164, 10)

vestito di dolcezza e d‟amar pieno (Rime

17, 2)

in fra ‟l dolce e l‟amar qual mezzo sia.

(Rime 155, 4)

de l‟onesta pregion, del dolce amaro (RVF

296, 3)

c‟un dolce amaro, un sì e no mi muove

(Rime 76, 13)

cangiar questo mio viver dolce amaro,

(RVF 129, 21)

ché ‟l dolce amaro è quello (Rime 244, 5)

e ‟l dolce amaro lamentar ch‟i‟ udiva,

(RVF 157, 6)

et tempra il dolce amaro, che n‟à offeso,

(RVF 205, 6)

g. sciogliere – allacciare

né per suo mi riten né scioglie il laccio

(RVF 134, 6)

Quante volte ha‟ legate e quante sciolte

(Rime 23, 5)

che lega et scioglie, e „n un punto apre et

serra (RVF 175, 13)

legato e stretto, e son libero e sciolto (Rime

7, 3)

che renda il debitor libero e sciolto?(Rime

160, 4)

per gli occhi ascende più libero e sciolto

(Rime 166, 6)

Quinci oltre mi legò, quivi mi sciolse;

(Rime 36, 5)

veggio e truovo chi, sciolto, ‟l cor

m‟allaccia (Rime 88, 7)

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h. ultimo – primo

l‟ultimo dì, ch‟è primo a l‟altra vita? (RVF

278, 8)

l‟ultimo, primo in più tranquilla corte

(Rime 118, 7)

dal primo pianto all‟ultimo sospiro (Rime

119, 1)

ne ringrazio le prime e l‟ultime ore (Rime

119, 14)

a chi l‟ultimo dì trascende al primo (Rime

86, 62)

i. arde – ghiaccia

assecura et spaventa, arde et agghiaccia

(RVF 178, 2)

di beltà donna, e ghiaccio ardendo in lei

(Rime 168, 4)

j. freddo – caldo

trem‟al più caldo, ard‟al più freddo cielo

(RVF 182, 5)

che scalda „l mondo e non è caldo lui

(Rime 88, 14)

e tremo a mezza state, ardendo il verno

(RVF 132, 14)

freddo al sol, caldo alle più fredde brume

(Rime 89, 8)

k. dolce pianto / dolce errore

è dolce il pianto più ch‟altri non crede

(RVF 130, 8)

dal dolce pianto al doloroso riso (Rime 78,

1)

quel dolce error, pur lì medesimo assido

(RVF 129, 50)

che „l vecchio e dolce errore (Rime 133,

8)

Una figura retorica spesso usata da Michelangelo è l‟antitesi. L‟uso dell‟antitesi

si può esprimere attraverso diversi livelli: il più utilizzato è, come in Petrarca, quello

lessicale tra antonimi (che abbiamo analizzato in questo contributo), ma esiste anche

quello sintattico. Alla base dell‟impiego di queste figure è presente il doloroso dissidio

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interiore morale-religioso (amore per le cose terrene vs amore per Dio), ma anche quello

psicologico-sentimentale (vecchiaia vs gioventù, vale a dire, vecchiaia vs amore).

La scelta delle parole e spesso l‟identico o il simile contesto in cui sono usate

dimostra quanto Michelangelo seguisse il modello di Petrarca anche nell‟impiego delle

antitesi e degli ossimori. Bisogna in ogni caso evidenziare che talvolta Michelangelo era

influenzato anche da Dante.

Si ha il caso dell‟antitesi dantesca: “pietoso” – “spietato” (Alighieri, 1994, p.

120) che ritroviamo più volte in Michelangelo:

- farie pietoso chi spietato regge (Rime 58, 4)

- d‟altrui pietoso e sol di s‟ spietato (Rime 94, 1)

- dolce pieta, con dispietato core (Rime 199, 10)

- sarie spietato per pietà chi langue (Rime 198, 3)

Alcune antitesi, invece, sono proprie di Michelangelo; la sua preferita era: “luce”

– “tenebre” che troviamo nelle Rime:

- altri s‟inlustra, e „n un momento imbruna (Rime 1, 4)

- dando a me luce, e tenebre m‟invola (Rime 30, 6)

Tipiche di Michelangelo sono le antitesi legate al suo mestiere: “Che sconcia e

grande usur saria a farla, / donandoti turpissime pitture / per rïaver persone belle e vive”

(Rime 79, 14); ma si ricordino anche Rime 152, 1 e 241, 3.

Certamente l‟influenza di Petrarca rimane innegabile: spesso anzi l‟autore,

proprio come Petrarca, dava segno di virtuosismo scrivendo interi elaborati fondati

sull‟antitesi. Gli esempi più importanti sono il sonetto 174 e il madrigale 118, che si

riportano:

Ancor che ‟l cor già molte volte sia

d‟amore acceso e da troppi anni spento,

l‟ultimo mie tormento

sarie mortal senza la morte mia.

Onde l‟alma desia

de‟ giorni mie, mentre c‟amor m‟avvampa,

l‟ultimo, primo in più tranquilla corte.

Altro refugio o via

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mie vita non iscampa

dal suo morir, c‟un‟aspra e crudel morte;

né contr‟a morte è forte

altro che morte, sì c‟ogn‟altra aita

è doppia morte a chi per morte ha vita. (Rime, 118)

Per quel che di vo‟, donna, di fuor veggio,

quantunche dentro al ver l‟occhio non passi,

spero a‟ mie stanchi e lassi

pensier riposo a qualche tempo ancora;

e ‟l più saperne il peggio,

del vostro interno, forse al mie mal fora.

Se crudeltà dimora

‟n un cor che pietà vera

co‟ begli occhi prometta a‟ pianti nostri,

ben sarebb‟ora l‟ora,

c‟altro già non si spera

d‟onesto amor, che quel ch‟è di fuor mostri.

Donna, s‟agli occhi vostri

contraria è l‟alma, e io, pur contro a quella,

godo gl‟inganni d‟una donna bella. (Rime, 174)

6.3. SINONIMIA

La dittologia sinonimica “risponde alla tecnica dell‟amplificazione che produce

ridondanza” (Mortara Garavelli, 2000, p. 212), con un duplice intento: o quello

esplicativo, per cui un termine chiarisce l‟altro che appare altrimenti oscuro, oppure,

come in questi casi, dove la chiarezza cristallina di Petrarca non ha bisogno di

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spiegazioni, ha valore intensivo, di rafforzare l‟espressione. Questo sarà anche il senso

con cui Michelangelo riprodurrà la sinonimia petrarchesca.

a. mi lamento e piango

tutte le notti si lamente et piagne (RVF 10,

11)

prostrato in terra, mi lamento e piango

(Rime 2, 4)

b. bagnata e molle

con gli occhi di dolor bagnati et molli

(RVF 53, 105)

prim‟ha nell‟oceàn bagnata e molle (Rime

86, 41)

c. alpestra e dura

et quanto alpesta et dura la salita (RVF 25,

13)

in pietra alpestra e dura (Rime 152, 2)

d. aspra e fera

sperai riposo al suo giogo aspro et fero

(RVF 360, 38)


169, 3)

e. spogli e privi

l‟alma d‟ogni suo ben spogliata et priva

(RVF 294, 5)

anzi che del mortal la privi e spogli (Rime

293, 12)

f. onoro e colo

che per te consecrato honoro et còlo (RVF

321, 11)

e quante suo bellezze onoro e colo (Rime

288, 13)

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g. caste e pie

o che dolci accoglienze, et caste, et pie

(RVF 343, 9)

tu sol se‟ seme d‟opre caste e pie (Rime

292, 5)

h. bianchi e biondi

movesi il vecchierel canuto et bianco

(RVF 16, 1)

e cape‟ bianchi e biondi più che porri

(Rime 20, 7)

i. uniche e sole

Vergine, unica et sola (RVF 366, 133) mira‟ tante bellezze uniche e sole (Rime

80, 2)

j. libero e sciolto

allor corse al suo mal libera et sciolta

(RVF 96, 12)

che renda il debitor libero e sciolto? (Rime

160, 4)

k. stringe e lega

che sì soavemente lega et stringe (RVF

197, 10)

che „l potere e „l voler mi stringe e llega

(Rime 70, 2)

La figura retorica della sinonimia, oltre agli esempi citati, dove si percepisce

l‟influenza diretta di Petrarca sulla poesia michelangiolesca, è stata usata ancora di più

da Michelangelo, aderendo per via indiretta al medesimo modulo stilistico:

i. si lamenta e dole

- brevissima ora si lamenta e dole (Rime 1, 2)

- la ragion meco si lamenta e dole (Rime 43, 1)

- più che d‟un furto si lamenta e dole (Rime 252, 6)

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ii. albergo e loco

- or ch‟è fuor del suo proprio albergo e loco (Rime 26, 7)

iii. ritorna e rriede

- perch‟io non tronchi „l fil ritorna e rriede (Rime 44, 6)

iv. campi e viva

- troppo dolor vuol pur ch‟i‟ campi e viva (Rime 45, 16)

- morir m‟è forza, ove si vive e campa (Rime 73, 2)

v. corti e brevi

- a‟ corti e brevi giorni (Rime 126, 3)

- perch‟all‟alta mie speme è breve e corta (Rime 141, 1)

- tuo dolce amorza, c‟ha dì corti e brevi (Rime 167, 5)

- del viver corto e poco (Rime 143, 2)

vi. forte e dura

- vostre imprese superbia ha forte e dura (Rime 67, 36)

- se quel dissolvon già sì duro e forte (Rime 170, 13)

Le somiglianze tra il Buonarroti e Petrarca, infine, sono visibili anche nella

scelta delle parole, come testimonia questo esemplificativo elenco di espressioni

comuni:

vinto e stanco – RVF 228, 4 / Rime 23, 2 dolorosi guai – RVF 353, 8 / Rime 132, 7

antica usanza – RVF 116, 8 / Rime 28, 5 benigna e pia – RVF 128,85 / Rime 155,

5; 244, 10

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belle membra – RVF 184, 10 / Rime 41, 2 pietosa e dolce – RVF 158, 12 / Rime 157,

1

vivo sole – RVF 90, 12; 135, 58; 208, 9;

230, 2 / Rime 43, 5; 229, 9

aspra e fera – RVF 360, 38; 267, 3 / Rime

169, 3

contrari effetti – RVF 325, 2 / Rime 47,

12; 88, 10; 141, 7; 145, 8

fidato specchio – RVF 361, 1 / Rime 172,

8

gran desio – RVF 11, 3; 71, 18; 72, 59 /

Rime 54, 55

fragil vita –RVF 63, 5; 351, 12; 360, 147 /

Rime 193, 2

struggo ed ardo – RVF 330, 8; 18, 4; 112,

3; 194, 14 / Rime 56, 4; 266, 2

picciol tempo dura – RVF 129, 11; 183,

14 / Rime 240, 8; 261, 4

dorato strale – RVF 270, 50 / Rime 59, 7;

175, 1

ultima partita – RVF 56, 13 / Rime 193, 3;

263, 13

in mezzo il core – RVF 88, 14; 100, 13,

155, 11 / Rime 127, 7; 86, 14

ardente desire – RVF 37, 50; 73, 17; 79, 4;

113, 8 / Rime 155, 7; 169, 1; 258, 12; 259,

1; 276, 9

lume e specchio – RVF 312, 11 / Rime 67,

43; 164, 3; 253, 12

anz‟il suo tempo – RVF 251, 2; 289, 3;

322, 12 / Rime 177, 2; 179, 2; 181, 2; 193,

7; 194, 1; 205, 3; 224, 3

crudele stella – RVF 22, 15; 41, 10 / Rime

70, 1

dolce e pia – RVF 206, 17; 366, 61 / Rime

221, 4

risi e canti – RVF 268, 79; 249, 11 / Rime

25, 6

infelice stato – RVF 360, 21 / Rime 234, 9

desiata luce – RVF 277, 13 / Rime 76, 1 fiero ardor – RVF 161, 2; 206, 21 / Rime

236, 14; 260, 2

aspr‟e mortale – RVF 241, 5; 132, 3 /

Rime 77, 8

fortuna ria – RVF 153, 13; 293, 34 / Rime

244, 7

zelo ardente – RVF 182, 1 / Rime 79, 1 angelica forma –RVF 90, 10 / Rime 249, 2

atto umile – RVF 123, 9; 170, 4 / Rime

84, 6

cor pudico – RVF 270, 7 / Rime 259, 12

debile e zoppa – RVF 88, 5 / Rime 97, 5 mille piacer non vaglion un tormento –

RVF 231, 4 / Rime 251, 14

cose altere e nuove – RVF 192, 2; 214, 2 / mondo cieco – RVF 28, 8; 248, 4; 325, 89

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Rime 106, 9 / Rime 109, 11; 295, 5

d‟amar pieno – RVF 173, 5 / Rime 17, 2

CONCLUSIONE

Nella letteratura scientifica, Michelangelo Buonarroti, in verità maggiormente

noto come artista figurativo che come poeta, viene considerato sia un petrarchista che

un antipetrarchista: chi lo riconosce come antipertarchista evidenzia la sua originalità

rispetto al modello di riferimento sostenendo che, nonostante partisse dall‟imitazione

del Canzoniere petrerchesco, le sue poesie presentano comunque elementi di sostanziale

novità, espressione dell‟originalità del suo genio.

Forse la più importante differenza fra il modello ed il suo imitatore consiste nella

prevalenza dello “stile” per il primo, rispetto all‟“oggetto”, fulcro poetico del secondo, e

nel fatto che il linguaggio mondano, elegante, levigato, proprio di Petrarca risulti atipico

per Michelangelo. Non di rado, infatti, la produzione poetica michelangiolesca, priva

dell‟armonia e dell‟equilibrio tipici di quella petrarchesca, assomiglia piuttosto alla

poesia aspra, oscura, ruvida e tesa di Dante e anticipa la lirica maniersista.

Eppure, è innegabile che Michelangelo resti un petrarchista, che egli rimanga

all‟interno di un sistema cultuale che ha in Petrarca il suo referente ultimo: lo si nota

dalla scelta delle forme metriche (sonetti e madrigali), dalla scelta dei temi, con la

preferenza per quello amoroso, dal tormento interiore condiviso da entrambi. Nel

presente articolo abbiamo cercato di evidenziare come le reminiscenze petrarchesche

nella poesia di Michelangelo si rispecchino anche nell‟uso della medesima

strumentazione retorica ed espressiva: Michelangelo si rifà a Petrarca nel lessico, nella

fraseologia e nelle soluzioni stilistiche, relative alle figure dell‟antitesi, dell‟ossimoro,

della dittologia sinonimica ed in un ampio ventaglio di metafore.

Michelangelo, in sintesi, non può non fare riferimento al modello di Petrarca,

non può che volgere lo sguardo dall‟interno dell‟orizzonte del petrarchismo nel

tentativo di esprimere, con la propria poesia, spesso frammentaria ed epigrammatica, la

dicotomia petrerchesca fra materialità e spiritualità, fra bellezza e deformità, morte ed

eternità.

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Buonarroti, M. (2016). Rime e Lettere, a cura di G. Masi ed A. Corsaro. Milano:

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Luigi E. Beneduci

Marija N. Vujović

“MY INFINITE THOUGHTS FULL OF ERRORS”

- THE PECULIARITIES OF PETRARCHISM IN MICHELANGELO’S RIME -

Summary: In the light of the most recent critical debate, sixteenth-century Petrarchism

has been divested of the simple dichotomy between norm and rejection, similarity and

dissimilarity, imitation and deviation in relation to Petrarch‟s model or Bembo‟s

codification, and qualified as a complex and composite movement in which both

significant constants and equally significant variations should be identified. In the frame

of this dialectic, we analyse Michelangelo Buonarroti‟s Rime in comparison to the

original model of Rerum vulgarium fragmenta. The analysis highlights the fact that

Michelangelo‟s genius distorts the reference model and deviates from it in a material,

tragic and expressionist sense, rather than offering a harmonious result of a strict

observance of Petrarchism. Michelangelo, however, achieves this effect by employing

the same rhetorical and expressive tools as Petrarch. The paper presents a comparative

analysis illustrated by numerous examples of the rhetorical figures of antithesis,

oxymoron, synonymy and a wide array of metaphors and lexical choices.

Key words: Michelangelo, Petrarch, Petrarchism, sixteenth century, intertextuality,

figures of speech.

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LuiĊi E. Beneduĉi

Marija N. Vujović

„GREŠAKA PUNE BESKRAJNE MISLI MOJE“

- PETRARKISTIĈKE SPECIFIĈNOSTI U MIKELANĐELOVIM RIMAMA -

Rezime: Kritiĉari koji se bave MikelanĊelovim knjiţevnim opusom, u cilju da odrede

koje mesto ovaj autor zauzima u nesvakidašnjem pokretu kakav je bio petrarkizam

šesnaestog veka, mogu, potpuno opravdano, dokazati dva dijametralno suprotna stava.

U prvom sluĉaju mogu dokazati da pesnik sebe stavlja u kontekst petrarkistiĉkog

imitiranja, u drugom da MikelanĊelova poezija izraţeno odstupa od petrarkistiĉke

norme. U prilog ovoj pretpostavci govori ĉinjenica da je MikelanĊelova poezija, za

razliku od Petrarkine, teška, apstraktna, gruba, napeta, nemirna, neharmoniĉna, neretko

ostavljena nedovršena i ĉesto na granici razumljivosti.

Dakle, iako s jedne strane kritika istiĉe sliku originalnog MikelanĊela u njegovom

bolnom petrarkizmu, analiza stilskih figura u našem radu istovremeno pokazuje kako je,

i u formalnom i u leksiĉkom smislu, MikelanĊelo sledio model Petrarke. U našem radu,

dakle, moţemo posmatrati MikelanĊelovu poeziju u smislu „nepetrarkistiĉkog

petrarkizma“, a ipak ,zasnovanog [...] na fundamentalno petarkistiĉkim

karakteristikama, kao što su konstantna tendencija korišćenja oksimorona i upotreba

uznemirujuće koincidencije suprotnosti‟“ (Gigliucci, 2000, str. 308), kako smo imali

prilike da vidimo u centralnom delu naše analize, posvećenom stilskim figurama

antiteze i oksimorona.

MikelanĊelo, da bi izrazio svoj unutrašnji raskol, koristi iste stilske i ekspresivne

instrumente kao i Petrarka, što na formalnom nivou dokazuje upotreba istih stilskih

figura i izbora reĉi, ali će autor ipak postići potpuno drugaĉiji pesniĉki ishod u odnosu

na harmoniju tipiĉnu za Petrarkine stihove.

Kljuĉne reĉi: MikelanĊelo, Petrarka, petrarkizam, šesnaesti vek, intertekstualnost,

stilske figure.




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186

PRETHODNO SAOPŠTENJE

DOI: 10.5937/reci1912186T

UDC: 82:929 Milojević V.

Svetlana E. Tomić

Alfa BK Univerzitet

Fakultet za strane jezike

SAHRANJENA U FUSNOTAMA. DR VUKOSAVA

MILOJEVIĆ (1898–1985), PISAC PRVE TEMELJNE

NAUČNE MONOGRAFIJE O JOVANU SKERLIĆU:

ISTRAŽIVAČKA BELEŠKA

Apstrakt: Cilj ove kratke beleške je da u saţetom obliku predstavi ulogu

Vukosave Milojević u poĉecima temeljnog istraţivanja Jovana Skerlića, jednog

od najznaĉajnijih istoriĉara i kritiĉara srpske knjiţevnosti, i da ukaţe na potrebu

detaljnijeg istraţivanja njenog nauĉnog rada. Posle Prvog svetskog rata, u vreme

kada se zaboravljao Skerlićev znaĉaj, Vukosava Milojević je objavila prvu

temeljnu nauĉnu monografiju o ovom istoriĉaru, osvetljavajući njegovu liĉnost i

intelektualni razvoj, pozitivne i negativne strane njegovih kritiĉarskih ocena.

Ovde predstavljena materija skica je nekih problema u pristupu prošlosti srpske

kulture i nauke. Nastala je sa namerom da podstakne druge istraţivaĉe da se

posvete istraţivanju Vukosave Milojević, posebno njenih monografija o Skerliću

i Lazi K. Lazareviću, kao i osvetljavanju njenog opšteg doprinosa filozofiji,

knjiţevnosti i akademskoj kritici.

Kljuĉne reĉi: Vukosava Milojević, Jovan Skerlić, Laza K. Lazarević, istorija

srpske knjiţevnosti, srpska knjiţevna kritika, nauĉni plagijat.

[email protected]

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187 SAHRANJENA U FUSNOTAMA. DR VUKOSAVA MILOJEVIĆ (1898–

1985), PISAC PRVE TEMELJNE NAUČNE MONOGRAFIJE O JOVANU

SKERLIĆU: ISTRAŽIVAČKA BELEŠKA

„Ţene koje su doprinele nauci sahranjene su u fusnotama“ (Yong, 2019, prevod

S.Tomić).1 Ovaj naslov osvanuo je na internetu poĉetkom 2019. godine, u ĉlanku koji

opisuje istoriju ignorisanja doprinosa ameriĉkih nauĉnica. Sliĉna istorija ignorisanja

nauĉnica moţe da se primeti i u srpskoj kulturi. Veoma retko ćemo saznavati o onim

nauĉnicama koje su pomerale granice znanja u odreĊenim disciplinama. Posebno su

intrigantne pionirke istorijskih prouĉavanja: politike i društva (Elodija Loton Mijatović,

1833–1908), igre (Maga Magazinović, 1882–1968), salona u 19. veku (Poleksija

Dimitrijević Stošić, 1903–1973)...

Dr Vukosava Milojević (1898–1985) bila je pisac prve obimne i temeljne

nauĉne monografije o Jovanu Skerliću (1877–1914), jednom od najznaĉajnijih istoriĉara

srpske knjiţevnosti (Jovan Skerlić, Beograd: Zora, 1937, strana 248). Pre nje, kraće

monografske publikacije o Skerliću objavili su 1921. godine u Beogradu – Bogdan

Popović, 1924. godine u Skoplju – Petar K. Bulat, 1926. godine u Novom Sadu – Vaso

Glušac, a 1929. godine u Banja Luci - Akif Šeremet. Danas je manje poznato ono što je

Vukosava Milojević istakla na završnim stranama svoje studije, da se posle smrti

Skerlića „preteruje u zaboravu“ (Milojević, 1937, str. 224)2 iako on i za srpsku i za

jugoslovensku kulturu predstavlja „trajnu vrednost“ (Milojević, 1937, str. 6).

Pojavu Vukosave Milojević treba sagledavati u okviru modernizacijskih tokova

ondašnjeg društva. Ona pripada posebnoj vrsti jugoslovenske ţenske elite, koja je sa

otvaranjem prvih ţenskih gimnazija dobila mogućnost da studira, te se već sa prvim

decenijama 20. veka moţe primetiti porast ţena sa steĉenim doktoratima. Nije

zanemarljiv broj onih ţena koje su tu najvišu titulu stekle na uglednim inostranim

univerzitetima. Tako je Vukosava Milojević 1935. godine, na temu o filozofskoj teoriji

strasti (Milojević, 1935), odbranila svoju doktorsku tezu u Parizu. To je bila, kako je

odmah u naslovu svog pravovremenog prikaza te teze napisala dr Ksenija Atanasijević,

„Prva filozofska disertacija jedne Srpkinje na Sorboni“ (Atanasijević, 1936, str. 70).3

Zanimljivo je da taj rad Vukosave Milojević i danas citiraju inostrani nauĉnici.

Ksenija Atanasijević je doktorat Vukosave Milojević ocenila kao „valjan prilog“

(Atanasijević, 1936, str. 71) jednoj neistraţenoj temi, u kojem je potvrdila „izraĊeni

knjiţevni ukus i oštar logiĉki duh“ (Atanasijević, 1936, str. 71). Atanasijević je

1 U originalu: “The Women Who Contributed to Science but Were Buried in Footnotes”. 2 Videti priloţenu biliografiju radova o Skerliću posle 1914. godine (Milojević, 1937, str. 244–

245). 3 Ovaj podatak, kao i ocene Ksenije Atanasijević uneće u svoju doktorsku tezu 2017. godine

Vladimir Z. Đurić Stvaralaštvo srpskih spisateljica prve polovine XX veka u kontekstu francuske

knjiţevnosti i kulture (Đurić, 2017, str. 15, 247).

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188 S V E T L A N A E . T O M I Ć

izdvojila savesnost i neposrednost, briţljivo razlaganje protivreĉne sarţine, bogatstvo

graĊe, a zamerila joj je što je malo uzela u obzir Paskala. Istraţivaĉke vrline koje je

Atanasijević uoĉila u disertaciji Vukosave Milojević mogu da se pronaĊu i u njenoj

monografiji o Jovanu Skerliću iz 1937. godine, dakle, tada već drugom kapitalnom delu

te nauĉnice, delu koje je, naţalost, do danas ostalo nedovoljno prouĉeno.

Svoju monografiju o Skerliću Vukosava Milojević je posvetila profesoru sa

Sorbone, Fortunatu Strovskom [Fortunat Joseph Strowski de Robkowa, 1866–1952].

Knjigu je podelila na ĉetiri glavna dela: I Ţivot i uticaji, II Duhovne osobine, III

Osnovne Skerlićeve ideje, IV Delo. U svakom od tih poglavlja, akribiĉno je pristupila

razliĉitim pitanjima i problemima, prikupivši mnoštvo pisanih i usmenih izvora. Osim

Predgovora, njena knjiga sadrţi i sledeće dodatke: Bibliografija radova Jovana

Skerlića, Bibliografija radova o Jovanu Skerliću i Indeks osobnih imena. U

Bibliografiji, Milojević je dosta izvora sama pronašla i posebno ih je oznaĉila.

U prvom delu knjige, Vukosava Milojević se trudila da predstavi poreklo

porodice Skerlić, duhovni razvoj i karakter samog Jovana Skerlića. Koristila je sa

oprezom legende, mnogo više druge nauĉne radove koji će osvetliti borbenu prirodu,

ponos, vrednoću, preduzimljivost potomaka, kao i politiĉku odanost dinastiji

KaraĊorĊević. U tom oslikavanju liĉnosti znaĉajnog intelektualca, posebno se

dragocenim pokazuju izjave bliskih ĉlanova porodice, kao što je Jovanova roĊena sestra

Jelena Skerlić Ćorović, a tu se dopunjuju i sećanja školskih prijatelja i profesora. Dok

prati rano Skerlićevo školovanje, Milojević paţljivo išĉitava njegove prve uticaje,

izdvajajući Vasu Pelagića i Jovana Jovanovića Zmaja. Ona se raspituje kod Skerlićevih

školskih prijatelja o posebnim dogaĊajima. Samo su oni mogli ispriĉati priĉu o tome

kako je Jovan Jovanović Zmaj posavetovao Skerlića da najpre odraste pa da se tek

potom bavi politikom. Taj prvi susret sa Zmajem zaneseni ĉetrnaestogodišnji Skerlić

pamtiće kao duboko razoĉaranje, ne shvatajući Zmajevu brigu o deci. Dok je Skerlić

hteo da sa Zmajem priĉa o politici, Zmaj je Skerliću ljubazno zahvalio na interesovanju

i vratio ga kući, podsećajući ga da je dete koje treba da uĉi i sluša roditelje. Skerlićev

profesor Aleksandar Belić zapazio je da se njegov uĉenik izdvajao revnosnim ĉitanjem,

beleţenjem lepih misli, ali i brzim sazrevanjem: „Bio je u pravom smislu starmali“

(Milojević, 1937, str. 24). Ovakvi portretni medaljoni pomaţu ĉitaocima i

prouĉavaocima da potpunije razumeju rane i gorljive Skerlićeve ambicije, ali i

ograniĉenja u doţivljaju ţivota i shvatanju njegove sloţenosti. U ovom delu prati se

Skerlićevo uĉešće u Ċaĉkoj druţini „Nada“ i negovanje kulta nauke.

U drugom delu knjige Vukosava Milojević saopštava informacije o daljem

Skerlićevom intelektualnom razvoju. Uticaj Svetozara Markovića ona definiše kao

„jedan od najvaţnijih i najtrajnijih“ (Milojević, 1937, str. 36), to je bila osoba od koje je

Skerlić preuzeo misao vodilju da treba biti istovremeno realista i idealista. Skerlićev

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profesor na Velikoj Školi, Bogdan Popović, osim što je materijalno pomagao svog

studenta i podrţavao ga u radu, prenosio mu je nauĉni duh traţenja istine, zamerajući

svom Ċaku pristrasnost. Kao paţljiva kritiĉarka, Vukosava Milojević ne propušta priliku

da osvetli i razloge ove pristrasnosti koju su pratile brzina rada i velika koliĉina posla.

Milojević primećuje: „Skerlić je bio više sintetiĉan duh, manje analitiĉan“ (Milojević,

1937, str. 47) i detaljnijom argumentacijom potkrepljuje ovu tvrdnju, što je vaţan razlog

da se njenoj studiji paţljivo pristupi. Ona takoĊe ukazuje na frankofoni uticaj filozofa,

neoidealiste, Ţan-Mari Gijoa, na duhovnu srodnost po kojoj je i Skerlić socijalni smisao

i moral traţio u knjiţevnosti. Potom Milojević prikazuje Skerlićevo školovanje u

Lozani, uticaj profesora Ţorţa Renara, od kojeg Skerlić preuzima ideje o ulozi istoriĉara

kao borca za ideje, a kritiĉara knjiţevosti kao nauĉnika posvećenog istini. Razmotren je

i uticaj profesora sa Sorbone, Gustava Lansona, i kako je Skerlićev rad tekao po

povratku u Srbiju, sve do njegove smrti.

U drugom i trećem delu knjige Milojević analizira Skerlićev duh, zamera mu

odsustvo jake, pronicljive i duboke logike, nedostatak strpljenja i paţljivog ispitivanja

pojedinosti. Ali, naţalost, njena ĉini se dobro utemeljena kritika Skerlića koji nije bio

blizu nauĉnom traţenju istine i objektivnosti, a koja je ispisana u prvim decenijama 20.

veka, gotovo sto godina kasnije ostaje po strani, nepoznata, a u studijskim programima i

dalje se Skerlićeve ocene uzimaju kao glavne vodilje u razumevanju i ocenjivanju

srpske knjiţevnosti. Milojević ne poriĉe Skerliću pregalaštvo i sugestivnost, ali nauka

više ceni rezultat istraţivanja od truda i harizme istraţivaĉa. Milojević se ponovo vraća

Skerlićevoj pristrasnosti, nekim njegovim teţnjama i liĉnim verovanjima,

opredeljenjima za pitanje pravde u socijalistiĉkom smislu.

U ĉetvrtom delu Vukosava Milojević ispituje Skerlićeve radove, njegov nauĉni

duh i metod, od najranijeg perioda stvaralaštva do smrti. Ona skreće paţnju na njegov

knjiţevni dar, posebno na njegovo temeljnije poznavanje francuske knjiţevnosti i

osvetljava otkud profesionalni preokret, tj. akademsko preusmerenje na srpsku

knjiţevnost. Milojević ukazuje na razne Skerlićeve metodološke propuste u ocenjivanju,

posebno kada u sluĉaju Milice Stojadinović Srpskinje neadekvatno premešta primere iz

francuske knjiţevnosti na srpsku, ili kada pristrasno umanjuje vrednost nekim piscima,

na primer Lazi K. Lazareviću, ili kada bez razumevanja prekoreva knjiţevne radove

Isidore Sekulić i Milice Janković. Kao zanimljiva i korisna izdvaja Skerlićeva zapaţanja

koja su kasnije izašla iz vidokruga njegovih drugih prouĉavalaca, na primer o vaţnosti

pisanja uspomena, tj. dokumentovanja doba i drugih pisaca od strane starijih pisaca. Sve

u svemu, studija Vukosave Milojević donosi mnoštvo podataka o Skerliću i predstavlja

prvo ozbiljno i temeljno nastojanje da se adekvatno oceni njegov rad. Ona takoĊe

uspeva da njegov lik pribliţi ĉitaocima. Odaje mu priznanje, ali i objašnjava mane. No,

umesto da se rezultati istraţivanja Vuksave Milojević priznaju i uvaţe jer pomaţu

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drugim nauĉnicima da se dalje pristupi u savesnom ocenjivanju Jovana Skerlića i uopšte

istorije srpske knjiţevnosti, njena knjiga i njeno ime ostali su zatureni i zamagljeni. U

sagledavanju intelektualnog rada vaţnih kritiĉara i kritiĉarki istorije srpske knjiţevnosti

njeno ime ne postoji.

Vukosava Milojević je pred svoju smrt objavila svoju treću monografiju, o

klasiku srpskog realizma, pripovedaĉu Lazi K. Lazareviću (1851–1891), veoma

uglednom lekaru (Milojević, 1985). Suvišno je napomenuti da je i ta monografija Laza

K. Lazarević skrajnuta u istraţivanjima tog pisca. Prema njenim autorskim

napomenama, studiju o Lazareviću pisala je za vreme Drugog svetskog rata, imajući

privilegiju da koristi rukopise i dokumenta iz privatne arhive porodice Lazarević

(Milojević, 1985, str. 3). Tu studiju objavila je mnogo decenija kasnije, u svom izdanju i

trošku.4

Tokom pripreme Celokupnih dela tog klasika srpskog realizma, što je bio

izdavaĉki poduhvat Srpske akademije nauka i umetnosti, Vukosava Milojević je bila

jedna od kljuĉnih saradnica prireĊivaĉa, Vladana Nedića i Branimira Ţivojinovića. U

„Predgovoru“ Celokupnih dela Laze K. Lazarevića, Branimir Ţivojinović je posebno

naglasio znaĉaj ove nauĉnice. Njenu prikupljenu a neobjavljenu graĊu ocenio je kao

materiju koja je prireĊivaĉima bila „od najvećeg znaĉaja“ (Ţivojinović, 1986, str. 11.)

Zahvaljujući njenim prepisima omogućen je „mnogo bolji uvid u Lazarevićev proces

rada“ (Ţivojinović, 1986, str. 15).

Nekoliko godina ranije, Branimir Ţivojinović je u jednom ĉlanku takoĊe isticao

istraţivaĉki znaĉaj Vukosave Milojević. Njeni prepisi spiska Lazarevićevih knjiga i

popis Lazarevićeve biblioteke pomogli su rešavanju jednog nauĉnog pitanja o

interpretaciji Lazarevićevog Vertera (Ţivojinović, 1976, str. 438).

Tek ostaje da se prikupe detaljni podaci o biografiji i objavljenim radovima

Vukosave Milojević. U enciklopedijama i novijim publikacijama o slavnim ţenama u

srpskoj kulturi retko se sreću ĉlanci o njoj. Na primer, ona se ne pominje u dvotomnoj

Maloj enciklopediji Prosvete (1968–1969). Kao prva srpska doktorka filozofije na

Sorboni, kao autorka prve studiozne knjige o Jovanu Skerliću, Vukosava Milojević

nesumnjivo pripada „ţenama koje su obeleţile XX vek u Srbiji“, ali je naţalost nema ni

u knjigama koje u novije vreme oţivljavaju sećanje na vaţne ţene u srpskoj kulturi.

4 Informaciju o svom mestu stanovanja u to vreme navela je u impresumu: „ul. Ljube Rankovića

3, 11 260 Umka“.

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Njenu fotografiju i nešto više podataka o njenom ţivotu i radu nalazimo u novom

tomu Srpskog biografskog rečnika iz 2014.5 Prema Popović (2014, str. 584–585),

Vukosava Milojević je roĊena 9. novembra 1898. u uĉiteljskoj porodici u Šapcu.6

Verovatno zbog tada uĉestalih uĉiteljskih seoba, osnovnu školu pohaĊala je u više mesta

u Srbiji (Nišu, Velikom Borku i Beogradu), gimnaziju je završila u Beogradu. Ponovne

selidbe sa porodicom tokom 1914–1916 upućuju je u Skoplje, Bitolj i Solun, a od 1917.

ţivi u ţenskim internatima u Francuskoj (Marselju, Ponsu, Poatjeu); osmi razred

gimnazije završila je u Srpskoj gimnaziji u Nici. Godine 1918. upisala je medicinu i

francusku knjiţevnost na Sorboni. U Srbiji od 1919. vanredno je studirala francuski

jezik na beogradskom Filološkom fakultetu a od 1920. do 1924. radila je kao profesorka

u više mesta u unutrašnjosti (Jagodina, Petrovac na Mlavi, Poţarevac, Loznica).

Neki podaci u ĉlanku Srpskog biografskog rečnika se preklapaju. Na primer,

napisano je da se Milojević tokom perioda 1926–1928 usavršavala u Parizu, i da je u

vreme 1926–1933 predavala francuski u Prvoj ţenskoj gimnaziji (danas Peta

beogradska gimnazija). U prvom tomu monografije o Prvoj ţenskoj gimnaziji nema

podataka o njenoj profesuri u to vreme, verovatno stoga što je ostalo malo saĉuvanih

izvora o toj instituciji iz meĊuratnog perioda (Đurović, 2013, str. 141). U ĉlanku

Srpskog biografskog rečnika navedeno je da je od 1934. do penzionisanja 1948. godine

Vukosava Milojević predavala francuski u drugim beogradskim, ţenskim i muškim

gimnazijama. Na Sorboni je doktorirala filozofiju 1935. godine. U ovom ĉlanku

Srpskog biografskog rečnika ne pominje se da je ona bila prva ţena iz Srbije koja je

doktorirala filozofiju na toj instituciji. Pominje se da je imala brata Borivoja (geograf) i

sestru Dragu (glumica).7 TakoĊe nije upisan potpun datum smrti Vukosave Milojević,

naveden je samo novembar 1985.

U ĉlanku Srpskog biografskog rečnika nije precizirano da je Milojević bila pisac

prve obimne nauĉne monografije o Jovanu Skerliću. Napomenuto je samo da je autorka

ĉlanaka i studija o srpskim piscima i knjiţevnim kritiĉarima, te da je bila saradnica u

5 Na dostupnosti ovog ĉlanka najsrdaĉnije zahvaljujem bibliotekarkama Biljani Petrović i Jasmini

Vukanić. 6 Tokom 1884. u osnovnoj školi u Vlasotincu, u zajedniĉkom odeljenju za mušku i ţensku decu,

njeni roditelji radili su zajedno. Otac Ţivojin predavao je Srpski jezik, a majka Nerandţa – Istoriju

(Biševac i Svetozarević , 2018, str. 185). Jezici i istorija kasnije će postati preokupacija i njihove

kćerke, Vukosave. 7 Prema podacima iz Male enciklopedije Prosveta (1969/II, str. 91) Borivoje Milojević (1885–

1967) bio je geograf, antropogeograf i regionalni geograf, profesor Beogradskog univerziteta,

ĉlan SANU, poĉasni doktor univerziteta u Grenoblu, Monpelijeu, Renu i Pragu. Autor je brojnih

nauĉnih radova.

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listovima Vesnik Srpske pravoslavne crkve (1932) i Hrišćanska misao (1938–1939). Na

internetu se nalazi podatak da je Milojević u i ranije u pomenutom Vesniku objavila

jedan ĉlanak: „Mudrost naših narodnih pesama“ (Milojević, 1930, str. 111–116).

O postojanju dr Vukosave Milojević prvi put sam saznala prošle, 2018. godine.

Istraţivala sam fenomen slave Milice Stojadinović Srpkinje, išĉitavala razliĉitu graĊu, i

naišla na fusnotu dr Radmile Gikić Petrović.8 U glavnom tekstu nauĉne monografije

Ţivot i delo Milice Stojadinović Srpkinje, Gikić Petrović prenosi sud Vukosave

Milojević, koji se inaĉe retko sreće u istraţivanjima o Milici Stojadinović Srpkinji, da je

Jovan Skerlić pogrešio u oceni pesništva ove prve srpske pesnikinje, jer je tom prilikom

na srpsku knjiţevnost preneo sudove francuskih kritiĉara o francuskim knjiţevnicama

(Milojević, 1937, str. 91). Podnoţna napomena kod Gikić u formi je standardno citirane

reference kojom ĉitaoce upućuje na autorku i naziv dela iz kojeg je prenela nauĉno

otkriće (Gikić Petrović, 2010, str. 8). Ta fusnota, meĊutim, nije sadrţavala dodatne

informacije o Vukosavi Milojević, niti objašnjenja o znaĉaju njenog istraţivaĉkog rada

o Skerliću.

Da je Vukosava Milojević skrajnuta u fusnotama potvrdiće i drugi nauĉni radovi

predstavljeni na jugoslovenskom nauĉnom skupu 1977. godine, posvećenom

stogodišnjici Skerlićevog roĊenja. U tom zborniku Jovan Skerlić u srpskoj knjiţevnosti

1877–1977, koji je objavljen 1980. godine, od 26 nauĉnika i nauĉnica, samo je 4

nauĉnika (Milan Radulović, Radvan Vuĉković, ĐorĊije Vuĉković i Dragiša Vitošević)

pomenulo ime i studiju Vukosave Milojević, uglavnom u podnoţnim napomenama, pa i

tom prilikom, bez ikakvog upućivanja ĉitalaca i istraţivaĉa u pionirski znaĉaj njenog

istraţivanja.

Ime i delo Vukosave Milojević izgleda nisu bili poznati engleskoj istoriĉarki

Siliji Hoksvort, autorki prve istorije knjiţevnosti koje su stvarale ţene u Srbiji

(Hawkesworth, 2000). Pa i kada je objavljena dvotomna Istorija srpske knjiţevne

kritike: 1768–2007, akademik Predrag Palavestra nije posvetio posebnu paţnju

univerzitetskoj kritici Vukosave Milojević. U tom voluminoznom zahvatu prošlosti

srpske knjiţevne kritike, njeno ime postoji samo u okviru bibliografije o Skerliću

(Palavestra, 2008/II, str. 876), ne i u poglavlju o Jovanu Skerliću (Palavestra, 2008/I,

str. 109–160).

8 Svetlana Tomić “From a Ruined Tomb to the First Public Monument Dedicated to a Woman:

Constructing the Cult of the First Serbian Poetess”. Rad je predstavljen 02. 06. 2018. na

meĊunarodnoj nauĉnoj konferenciji u Moskvi, A Hero of Our Time: (Inter)national symbolic

public figures and their cult in the age of (post)modernity.

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Godine 2015, u novom nauĉnom zborniku, nastalom povodom obeleţavanja

stogodišnjice Skerlićeve smrti, odnos prema doprinosu Vukosave Milojević obeleţiće

nova redukcija. Od 17 radova, Milojević je pomenuta samo u jednom tekstu, od strane

prof. dr Mirjane D. Stefanović (Stefanović, 2015, str. 68), ali ni tom prilikom nije

precizirano da je njena nauĉna monografija prva obimna i temeljna nauĉna studija o

Jovanu Skerliću. Ono što izdvaja Mirjanu D. Stefanović od ostalih malobrojnih

nauĉnika koji su nekoliko decenija pre pominjali Vukosavu Milojević jeste jedan znatno

drugaĉiji sud o knjizi Vukosave Milojević, kao i jedna veoma ozbiljna optuţba upućena

brojnim prouĉavaocima Jovana Skerlića.

Suprotno npr. Midhatu Begiću (1911–1983), nauĉniku koji je u Francuskoj

doktorirao na Skerliću (Begić, 1963)9 i kome je ubrzo, 1964–1967, povodom 50 godina

Skerlićeve smrti, posvećena uloga prireĊivaĉa Skrelićevih Sabranih dela, koji je sudove

Vukosave Milojević ocenio kao subjektivne (Begić, 1966, str. 17), Mirjana D.

Stefanović smatra da je Milojević „veoma objektivna u svojim sudovima“ (Stefanović,

2015, str. 68). Osim toga Stefanović je prvi put skrenula paţnju, doduše u fusnoti, da su

istraţivaĉi posle Drugog svetskog rata ĉesto plagirali otkrića Vukosave Milojević

„gotovo je ni ne spominjući“ (Stefanović, 2015, str. 68).

To mišljenje Mirjane D. Stefanović o nauĉnom plagiranju Vukosave Milojević

moţe biti istinit odgovor o razlozima kasnijeg brisanja imena ove nauĉnice,

nepoznavanja i nepriznavanja njenog doprinosa srpskoj univerzitetskoj i knjiţevnoj

kritici. Tridesetih godina 20. veka monografija Vukosave Milojević dobila je solidnu

recepciju u dnevnim listovima i struĉnim ĉasopisima.10

Dok je u to prvo vreme njen rad

o Skerliću u listu Pravda pohvalno ocenjen zbog „savesnosti i intelektualnog poštenja“

kao i zbog „nauke i objektivnosti“ (Ilić, 1937, str. 9), dok je u Srpskom knjiţevnom

glasniku njena monografija vrednovana kao jedna od „najznaĉajnijih studija o Skerliću“

(Veljković, 1937, str. 309), kasnije se stvar menjala.11

Naravno, u prvo vreme

objavljivanja njene monografije bilo je i kritiĉkih komentara (videti npr. Popović, 1939,

str. 193–195), ali je do danas uporno izostajala podrobna analiza njenog rada i detaljno

raskrinkavanje nauĉnog plagijata, još uvek tabu teme srpske nauke i akademske

zajednice.

9 Begić je doktorat odbranio na Univerzitetu u Lionu, 1958. godine. Njegova disertacija najpre je

bila objavljena na francuskom jeziku 1963. a ubrzo se u ponešto izmenjenom obliku pojavila na

srpskohrvatskom jeziku, videti Begić 1966. 10 Podrobnije podatke o autorima i autorkama koji su tridesetih godina 20. veka pisali o

monografiji Vukosave Milojević o Skerliću videti kod Popović, 2014, str. 585. 11 Ilićeve pohvale prvi je pomenuo Radovan Vuĉković u pomenutom zborniku o Skerliću iz 1980.

(Vuĉković, 1980, str. 112).

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Posebna istraţivaĉka tema, na primer, moţe biti odnos Midhata Begića prema

monografiji Vukosave Milojević. Treba primetiti da Midhat Begić u svojoj monografiji

o Skerliću ni jedanput ne citira monografiju Vukosave Milojević koja je prouĉavala

brojne aspekte Skerlićevog ţivota i rada, a mnogo puta navodi monografiju o Skerliću

dr Ţivomira Mladenovića tj. njegovu doktorsku tezu iz 1940. godine, koja je bila

posvećena samo istraţivanju mladosti Jovana Skerlića (Mladenović, 1940) iako u

uvodnim stranama svoje studije Begić napominje da su upravo ta dva dela „glavni

univerzitetski doprinos ovom predmetu“ tj. izuĉavanju Skerlića (Begić, 1966, str. 16).12

Ako pogledamo npr. tehniku pisanja nauĉnog rada, zanimljivo je videti da Midhat

Begić, za razliku od Vukosave Milojević, u glavnom tekstu prilikom prenosa citata

ĉesto izostavlja unošenje fusnota i potpunih referenci.13

Ako razmišljamo o

intelektualnom poštenju, primetićemo da neka originalna nauĉna otkrića Vukosave

Milojević, poput onog o Skerlićevom pogrešenom sudu poezije Milice Stojadinović,

Midhat Begić uopšte ne pominje. Begić hvali Skerlićev portret Milice Stojadinović

(Begić, 1966, str. 256). Osim toga, Begić ne nalazi potrebnim da ĉitaoce uputi da je o

uticaju francuskih akademskih profesora, istoriĉara i kritiĉara (Ţorţa Renara i Gustava

Lansona) na Skerlića mnogo podrobnije pre Begića pisala Vukosava Milojević, itd.14

Mirjana D. Stefanović je podvukla da danas nemamo savremenih monografija o

Jovanu Skerliću (Stefanović, 2015, str. 67). Kako bi se vratio intelektualni i etiĉki dug

nauĉnicima koji su se prvi poduhvatili takvog zadatka, treba se posvetiti Vukosavi

Milojević. Treba posebno istraţiti pitanje ko je od nauĉnika, šta i kako preuzimao od

Vukosave Milojević, da li je Midhat Begić bio u pravu kada je, kao jedino vredne,

istakao biografske i bibliografske doprinose te nauĉnice (Begić, 1966, str. 16–17), ne

pominjući njena druga nauĉna otkrića.

12 Videti i uporediti Begić, 1966, str. 9–292 i Begić, 1966, str. 295–335. 13 Ĉak i nasumiĉno otvaranje strana Begićeve studije potvrĊuje ovu tvrdnju. Videti npr. Begić,

1966, str. 31, 76, 104, 205, 218. 14 Videti i uporediti Milojević, 1937, str. 68–91 i Begić, 1966, str. 267, 335.

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LITERATURA

Atanasijević, K. (1936). Prva filozofska disertacija jedne Srpkinje na Sorboni. Srpski

knjiţevni glasnik, 47 (1), 70–72.

Begić, M. (1963). Jovan Skerlić et la critique littéraire en Serbie. Paris: Institut d'études

slaves de l'Universite de Paris.

Begić, M. (1966). Jovan Skerlić. Čovek i delo. Beograd: Prosveta.

Biševac, S. i Svetozarević, M (2018). Vlasotinaĉka muška osnovna škola 1878–1903.

Godišnjak Pedagoškog fakulteta u Vranju, knjiga IX, 1/2018, 181–194. Dostupno preko

https://scindeks-clanci.ceon.rs/data/pdf/2466-3905/2018/2466-39051801181B.pdf

[24.08.2019]

Bulat, K. P. (1924). Jovan Skerlić kao nacionalista. Skoplje.

Đurić, Z. V. (2017). Stvaralaštvo srpskih spisateljica prve polovine XX veka u kontekstu

francuske knjiţevnosti i kulture. (Neobjavljena doktorska disertacija). Beograd:

Univerzitet u Beogradu, Filološki fakultet.

Đurović, A. (2013). Peta beogradska gimnazija I deo. Prva ţenska gimnazija u

Beogradu 1905–1941. Beograd: Peta beogradska gimnazija.

Gikić Petrović, R. (2010). Ţivot i delo Milice Stojadinović Srpkinje. Novi Sad: Matica

srpska.

Glušac, V. (1926). Dr Jovan Skerlić. Knjiţevna studija. Novi Sad: Matica srpska.

Hawkesworth, C. (2000). Voices in the Shadows. Women and Verbal Art in Serbia and

Bosnia. Budapest, New York: CEU Press.

Ilić, A. (29. maj 1937). Skerlić danas. Povodom studije Vukosave Milojević. Pravda,

str. 9.

Mala enciklopedija Prosveta I–II. (1968–1969). Beograd: Prosveta.

Milojević, V. (1930). Mudrost naših narodnih pesama. Vesnik Srpske pravoslavne

crkve, 111–116.

Milojević, V. (1935). La theorie des passions du P. Senault et la morale Chretienne en

France an XVIIe siecle. Paris: Librarie L. Rodstein.

Milojević, V. (1937). Jovan Skerlić. Beograd: Zora.

Milojević, V. (1985). Laza K. Lazarević. Beograd: izdanje autorke.

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Mladenović, Ţ. (1940). Mladost Jovana Skerlića. Skerlićevo prvo formiranje.

(Neobjavljena doktorska disertacija). Beograd: Univerzitet u Beogradu, Filozofski

fakultet.

Palavestra, P. (2008). Istorija srpske knjiţevne kritike: 1768–2007, tom I i II. Novi Sad:

Matica srpska.

Popović, B. (1921). Jovan Skerlić kao knjiţevni kritičar. Beograd: „S. B. Cvijanović“.

Popović, D. (2014). Vukosava Milojević. U: Srpski biografski rečnik, tom 6, Mar-Miš

(str. 584–585). Novi Sad: Matica srpska.

Popović, P. (1939). Vukosava Milojević, Jovan Skerlić. Prilozi za knjiţevnost,

jezik,istoriju i folklor, XIX (1–2), 193–195.

Stefanović, D. M. (2015). Odgovor na pitanje: Šta je Jovanu Skerliću prosvećenost. U:

M. Vuksanović (ur.), Jovan Skerlić danas (str. 65–73). Beograd: SANU.

Šeremet, A. (1929). Dr Jovan Skerlić. Banja Luka: Štamparija „Glas Krajine“.

Tomić, S. (2018). “From a Ruined Tomb to the First Public Monument Dedicated to a

Woman: Constructing the Cult of the First Serbian Poetess” (neobjavljen rad).

Veljković, M. (1937). Vukosava Milojević: Jovan Skerlić. Srpski knjiţevni glasnik, LII

(4), 308–309.

Vuĉković, R. (1980). Skerlić i avangarda. U: P. Palavestra (ur.), Jovan Skerlić u srpskoj

knjiţevnosti 1877–1977. Zbornik radova (str. 77–117). Beograd: Narodna knjiga:

Institut za knjiţevnost i umetnost.

Yong, E. (2019, February 11). The women who contributed to science but were buried

in footnotes. The Atlantic. Dostupno na:

https://www.theatlantic.com/science/archive/2019/02/womens-history-in-science-

hidden-footnotes/582472/ [20.08.2019].

Ţivojinović, B. (1976). Teorije Miloša Trivunca o 'Verteru' Laze Lazarevića. Prilozi za

knjiţevnost, jezik,istoriju i folklor, 42 (1–4), 431–438.

Ţivojinović, B. (1986). Predgovor. U: Laza K. Lazarević Celokupna dela, Sv. 1,

priredili Vladan Nedić i Branimir Ţivojinović (str. 3–24). Beograd: SANU.

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SVETLANA E. TOMIĆ

A WOMAN BURIED IN FOOTNOTES. DR. VUKOSAVA MILOJEVIĆ (1898–1985), THE

AUTHOR OF THE FIRST ESSENTIAL SCHOLARLY MONOGRAPH ABOUT

JOVAN SKERLIĆ: A RESEARCH NOTE

Summary: The aim of this brief note is to present in summary form the role of

Vukosava Milojević in creating the basis for scholarly research on Jovan Skerlić, one of

the most important historians and literary critics of Serbian literature, and to emphasize

the need for more detailed research on her scholarly work. After World War I, at the

time when the importance of Skerlić's work started to fade, Vukosava Milojević

published the first in-depth monograph about this historian, shedding light on his

personality and intellectual development, while also presenting the positive and

negative sides of his literary evaluations. The material presented here provides an

outline of some problems in the approach to Serbian culture and academic work of the

past. This paper is written with the aim of inspiring other scholars to devote their

research to Vukosava Milojević, to her books on Skerlić and Laza K. Lazarević and to

publicize her contributions to philopsophy, literature and academic writings in general.

Key words: Vukosava Milojević, Jovan Skerlić, Laza K. Lazarević, history of Serbian

literature, history of Serbian literary criticism, plagiarism.




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198

PREGLEDNI RAD

DOI: 10.5937/reci1912198S

UDC: 821.163.41.09-31 Mihailović D.

Milena M. Sretić*

Univerzitet u Beogradu

Filološki fakultet

Neda Z. Nikolić

Univerzitet u Nišu

Filozofski fakultet

UTICAJ DRUŠTVENO-POLITIČKE REALNOSTI U PROZI DRAGOSLAVA MIHAILOVIĆA

Apstrakt: Rad aktuelizuje estetsku vrednost proze Dragoslava Mihailovića

putem interpretacije triju romana: Petrijin venac, Treće proleće i Kad su cvetale

tikve. Analitiĉkim pristupom realnim društvenopolitiĉkim okolnostima tokom

druge polovine XX veka i njihovog integrisanja u romaneskni svet, putem

referentnih primera lokaliteta, jezika, karaktera i kompleksa ideja i uz pregled

relevantnih istraţivanja teoretiĉara knjiţevnosti, predoĉiće se na koji naĉin se

ostvaruju komunikacija sa ĉitaocima i esteticizam poetskog transponovanja

stvarnih istorijskih prilika u umetniĉki kontekst.

Kljuĉne reĉi: proza, roman, komunikacija, neorealizam.

*[email protected]

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199

UTICAJ DRUŠTVENO -POLITIČKE REALNOSTI U PROZI DRAGOSLAVA

MIHAILOVIĆA

Dragoslav Mihailović je priĉajući o svom knjiţevnom stvaralaštvu liĉni doţivljaj

stvarnosti okarakterisao kao podsticaj za pisanje (Mihailović, 2010, str. 47). Opšte

mišljenje prouĉavalaca proznih ostvarenja ovog pisca, a koje iznosi Petar Dţadţić, jeste

da je reĉ o delima koja su refleks neposrednog ţivota i koja sa punom moralnom i

estetskom odgovornošću usmeravaju svoja ogledala ka reci tekućih zbivanja i prisutnih

ljudskih sudbina (Dţadţić, 1976, str. 147).

Utisku verodostojnosti doprinosi umnogome i, kako Jovan Deretić (1987, str.

318) istiĉe, upotreba gradskog argoa i dijalekatskog govora koji ima dublju i

osmišljeniju funkciju: preobraţavanje „niskog“ i „vulgarnog“ u potresne poetske

simbole. Predrag Palavestra (1972, str. 316) je istakao da je Mihailović realistiĉkoj prozi

udahnuo novu snagu i da joj je uz zadrţavanje prirodnih pretpostavki realistiĉkog

postupka vratio i veru u mogućnost stvaralaĉkog preobraţavanja i otvorio joj

perspektivu tragiĉne stilizacije ţivotnih istina.

Zajedniĉka karakteristika svih triju romana – Petrijin venac, Treće prolećei Kad

su cvetale tikve – o kojima će na sledećim stranama biti reĉi, jeste hronotopsko

odreĊenje u koje su postavljeni likovi. Sudbine Ljube, Svete i Petrije, ali i ostalih likova

koje pronalazimo u ovim romanima, usko su vezane za naše podneblje u odreĊenom

društvenopolitiĉkom periodu (Drugi svetski rat i uspostavljanje komunistiĉke vlasti).

Uobliĉavanje istinitosti i utiska verodostojnosti postojanja likova u konkretizovanom

vremenu i prostoru jeste i odjek istorijskih dogaĊaja i naĉin na koji se oni provlaĉe u

ţivotima individue. Postupak transcedencije istorije i u okviru romaneskne strukture

uviĊamo i u ranijim delima nacionalne knjiţevnosti, a Danica i Ana Andrejević su ovu

pojavu posebno istakle u interpretaciji proze Miloša Crnjanskog(Andrejević i

Andrejević,2014, str.7). U Mihailovićevim romanima istorijske ĉinjenice su

inkorporirane aktuelizovanjem fenomena Golog otoka(sukoba izmeĊu pristalica Staljina

i Tita),epidemije variole vere 1972. godine i graĊenja pruga.Iako je u Petrijinom

vencupriĉa o Golom Otokulokalizovanau mestu Dobra Sreća, poznato je da je ovaj

sindrom vladao u celoj tadašnjoj drţavi. Identiĉni nazivi mesta, ulica i objekata

predstavljaju još jedan oblik poetskog postupka ostvarivanja verodostojnosti postojanja

likova. Ljuba navodi mesta igranki koja su zaista u to vreme bila popularna – Lola,

Zvezdara, Boţidarac kod Kalenića, Zvezdino košarkaško igralište na Kalemegdanu,

Sveta juri Bulevarom revolucije, Terazijama i Knez-Mihailovom,Draganĉe će Ljubi u

izveštaju o Apaševom napastvovanju Dušice izneti trasu ulica koje zaista postoje, a

Petrija će opisatinalaţenje vojne bolnice u koju ju je uputio policajac na ţelezniĉkoj

stanici aludirajući na put današnjom Nemanjinom do Ulice generala Ţdanova (današnja

Resavska), gde je sedamdesetih godina dvadesetog veka bila smeštena VMA. Prikazani

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200 M I L E N A M . S R E T I Ć , N E D A Z . N I K O L I Ć

postupak hronotopizacije ovakvog vida konstituisanja romana u skladu je sa

tumaĉenjem Ralfa Elisona da

bez obzira na njegova umetniĉka ostvarenja, [roman] postoji kao oblik

komunikacije. [...] Sliĉno svim proznim oblicima umetnosti, roman

ostvaruje komunikaciju kroz poznato iskustvo koje je zajedniĉko

jednom narodu, društvu ili naciji (roman je obavijen pojmom nacije).

Ako uopšte ostvaruje univerzalnost, ĉini to nagomilavanjem vizija

stvarnosti i njihovog rasporeĊivanja u obrasce opšteg znaĉenja. [...]

Prema tome, romansijer i njegov najprijemĉiviji ĉitalac (u suštini veoma

neophodan saradnik koji uĉestvuje u prenošenju umetniĉke fikcije u

ţivot) moraju deliti kompleks ideja – koje se odnose na stvarnost,

nuţnost, mogućnost, slobodu, liĉnost i vrednost – i kompleks osećanja

kako racionalnih tako i iracionalnih, koji su plod specifiĉnih uslova

njihovog zajedniĉkog društva. (1979, str. 416)

Po umetniĉkoj postavci likova romana u realnom prostoru i oslikavanju

tragiĉnosti ĉovekove sudbine u modernom dobu koncepcija ovih romana sliĉna je

romanima poput Čedomira Ilića Milutina Uskokovića, Hodočašća Arsenija Njegovana

Borislava Pekića, Upotrebe čoveka Aleksandra Tišme i drugim proznim ostvarenjima

pisaca u nacionalnoj knjiţevnosti tokom XX veka. Prema Elisonovom objašnjenju,

komunikaciju moţemo predstaviti kao obraćanje znanju steĉenom putem praktiĉnog

iskustva ili knjiţevnosti, ako predstavi stvarnost (Elison, 1979, str. 416). Na ovaj naĉin,

uspešnu komunikaciju u odnosu sa ĉitalaĉkom publikom, odnosno recipijentima, u

relaciji sa knjiţevnim delima ovog pisca afirmiše i afinitet pozorišne i filmske publike

prema dramatizaciji i ekranizaciji po motivima predoĉenim u romanima o kojima je reĉ

u ovom radu (televizijska serija i film Petrijin venac, predstava Kad su cvetale tikve i

dr.), kao i aktuelizacija motiva destruktivnosti totalitarnog reţima i progonstva

neistomišljenika prisutna u dramaturgiji i kinemotografiji u drugoj polovini prošlog

veka, oliĉena u predstavi i filmu Profesionalacpo scenariju Dušana Kovaĉevića, filmu

Balkanski špijun (analogija izmeĊu postavke glavnih likova Ilije Ĉvorovića i Svete

Petronijevića u povratnom odnosu progonstva – oni uhode druge, a ujedno su i predmet

uhoĊenja – koji dovodi do unutrašnjeg rastrojstva i time uništava i ostale aspekte ţivota,

kao i analogija glavnog lika sa psom u završnici), zatim u ostvarenju Emira Kusturice

Otac na sluţbenom putu i dr.

Univerzalnost Mihailovićeve proze ogleda se u sudbinskoj determinisanosti

ţivota likova. Ljubiša Jeremić (2007, str. 191) je „mihailovićevske“ ljude opisao kao

marginalce koji uprkos tome što ĉine sve najbolje bivaju izloţeni stradanjima, a opet

poseduju veoma razvijenu svest o etiĉkim vrednostima. Moţe se reći da se naĉinom na

koji su predstavljeni protagonisti u završnici romana ilustruje i autorov filozofski pogled

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201


MIHAILOVIĆA

na svet. Iako su ţivoti svih glavnih likova ispunjeni patnjom, izazvanom direktnim ili

indirektnimtuĊim uticajem, Petrija i Ljuba svoj put nastavljaju, dok će Sveta biti

zaustavljen. Poslednjim pasusom romana Petrijin venac u kojem se iskazuje Petrijino

razmišljanje o tome da treba da nahrani ţivotinje kod kuće – „Ne smem ja nji da

zaboravim“ (Mihailović, 2004b, str. 412) – predoĉava se njen usud da ĉitavog ţivota

brine o drugima (negovaće Misinog brata kad se razboleo, potom i Misu, spasiti

Milijanin ţivot ugroţen Poleksijinom nadrimedicinom, brinuti o roĊaci Zori, potom o

psu Stanislavu), dok će se Ljuba na kraju romana ispovediti da „i kad stoji i kad hoda, i

kad se smeje i kad spava“ (Mihailović, 2004a, str. 135) tuguje za svojim Dušanovcem,

te će njegov lik biti protkan u uţem smislu motivom nostalgije, a u širem motivom

stranca, odnosno, nepripadnosti.

Slobodan Vladušić ukazao je na znaĉaj kruţne kompozicije u romanu Kad su

cvetale tikve: prvobitna odluĉnost Ljube Šampiona, ispoljena u stavu da se neće vratiti,

sada je zamenjena ţalopojkom za Dušanovcem (2017, str.184). Prema tumaĉenju Jelene

Jovanović, upravo prva reĉenica u negaciji ĉini motivacioni ĉvor fabularnog niza

romana pomoću koga pisac gradi strukturalno jedinstvo priĉe(2013, str. 195).

Razlog što se ovi romani ne završavaju smrću glavnih junaka nije samo u

opravdanosti izbora forme pripovedanja u prvom licu, kako bi nam mogli kazati svoju

priĉu, već i u tome što uprkos nenaklonjenosti sudbinskih okolnosti oni istrajavaju u

svojoj borbi za ţivot ne pokleknuvši pred porivom da postanu okrutni poput onih koji su

inicijatori njihove tragiĉnosti (opravdanje Ljubinog ubistva Apaša obavijeno je

iracionalnošću, Apaševom destruktivnošću i odsustvom zakonske pravde u romanu, a

Petrija se ne sveti svekrvama), ĉime se iskazujene samo tragiĉka nego istovremeno i

vitalistiĉka vizija ţivota (Nedić, 2010, str. 97) kojom odiše stvaraštvo ovog pisca.

Konstituisanjem romana Treće proleće u formi pripovedanja u 3. licu uz taĉku gledišta

uslovljenu percepcijom glavnog lika iskazuje se i još jedan metafiziĉki sloj, koji

jeiskazan i smrću Apaša u romanu Kad su cvetale tikve, a to je da je, zbog svoje prirode,

zlo oliĉeno u destruktivnosti i manifestaciji nasilja determinisano da nestane, i to

samorazaranjem. Ovo stanovište bi se moglo projektovati i na posmatranje geneze

nastanka romana. S obzirom na to da je pripovetka „Treće proleće Svete Petronijevića“

objavljena 1982. godine izavršava se Svetinim odlaskom iz Ćuprije, moguće je da je

autor u tom vremenskom periodu još uvek smatrao da postoji nada za karaktere oliĉene

u glavnom liku. MeĊutim, u romanu objavljenom dvadeset godina kasnije, u kojem se

slika realnog ţivota fikcijom projektuje na nastavak pripovetke u svetu romana u

manifestaciji istog duha samo u drugaĉijim okolnostima, autor izraţava neumitnost

propasti takve ideologije i njenih protagonista. Lik konstituisan poputSvete imao je

šansu da se spasi, ali nastavljanje ponašanja u istom udbaškom maniru, samo u

drugaĉijim okolnostima, uslovilo je nuţnostnjegovog propadanja.

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Još jedna od osobina koje postiţu uspešnu komunikaciju Mihailovićevih romana

sa ĉitalaĉkom publikom jeste kompleks ideja karakteristiĉan za našu sredinu oliĉen u

likovima kao što su vraĉara Ana i nadribabica Poleksija, zatim prihvatanju opštenja sa

mrtvima putem snova kao neĉeg prirodnog (Petrija će ĉak i pomisliti da je Misa ljut

pošto joj duţe vreme nakon smrti nije dolazio u san), predskazanju i anticipaciji smrti

(fiziološko osećanje skorašnjeg umiranja(Ljuba će primetiti Andrine bele ruke, Sveta će

osetiti drhtavicu), Misino „doteravanje“, laveţ pasa u Petrijinom vencu i Trećem

proleću, lomljenje nameštaja u Petrijinom vencu, san u kojem se ukazuje Misina

nesreća sa nogom), sinkretizmu hrišćanskih i magijskih elemenata(ogrešenje Petrije o

sv. Vraĉa radom na njegov praznik i iskupljenje odlaskom i u crkvu i kod vraĉare).

Lidija Delić je ukazala na specifiĉni tradicionalni kolorit kome doprinosi prisustvo

(pseudo)basmi/bajalica (2008, str. 344). U svim trima romanima prisutan je kritiĉki

odnos prema protagonistima totalitarnog reţima (policajac Sulja u Kad su cvetale tikve,

Sveta i Marić u Trećem proleću, scena rušenja Ljubišine kafane u Petrijinom vencu i

dr.).

Prema reĉima Petra Dţadţića,

Mihailović daje prikaz elementarnog ţivota u kome osećamo filmski

postupak, u kome nam se otkrivaju stav, ţiva, autentiĉna reĉ junaka [...]

Postupkom koji potiskuje autora [...] i specifiĉnošću ambijentacije,

Mihailović spada u pisce koje savremeni teoretiĉari knjiţevnosti

nazivaju novim realistima, ili neorealistima. (1976, str. 150)

Pored ostalih, i romanima o kojima je u ovom radu reĉ, oblikovanjem likova kao

obiĉnih ljudi a ne istorijskih liĉnosti, prikazom njihovih slabosti i vrlina, uz

naturalistiĉke primese (erotizam u ljubavnom odnosu Mire i Svete, opis Misinog leša,

Ljubini opisi povreda tokom meĉeva, prostor u kojem obitavaju i sl.), Mihailović

potvrĊuje da je pisac stvarnosne ili kritiĉke proze (Nedić, 2010, str. 90). Imena likova

upravo su jedan od poetskih postupaka u iskazivanju osobenosti lika. Antagonizam

izmeĊu udbaškog nasilniĉkog ponašanja i nesigurnosti u relaciji sa ţenama koje u

njemu pobuĊuju osećanja (što se predoĉava i u sukobu njegove sanjalaĉke prirodei

agresivnog ponašanja koje iskazuje prema ispitanicima) simboliĉno se oslikava i u

Svetinom nadimku Ruski. Ovaj nadimak junak dobija zbog svog izgleda u detinjstvu –

„mleĉne koţe, naburenih usana i slamastih, gotovo belih ţivih vlasi“ (Mihailović, 2002,

str. 70). Autorskim komentarom da će ga u prestonici izgubiti i iskazivanjem

animoziteta glavnog lika prema ovom nadimku, predoĉenog putem doţivljenog govora

„Mrzeo je taj svoj izraz“ (Mihailović, 2002, str. 70), izraţava se potreba glavnog lika da

pobegne od svog identiteta koji je imao u Ćupriji (premda će on stalno nesvesno

isplivavati) manifestovana promenom naĉina govora, ali i njegovim „špijunskim“

metodama (telefoniranje sa Mirom, malverzacije oko suĊenja i dr.). Nadimci Ljube

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203


MIHAILOVIĆA

Sretenovića takoĊe su u poetskom saglasju sa osobinama ovog lika. Antagonizam

Šampion – Vrapĉe simboliĉno iskazuje i ambivalentnost njegove prirode –s jedne strane

sujetu, ponos, jaĉinu da nastavi dalje, a s druge emotivnost (koja se iskazuje u poseti

majci u bolnici i potonjoj skrhanosti, u reakciji nakon razgovora sa Apaševom majkom i

dr.).

Prema stanovištu Gorana Korunovića, u romanu Kad su cvetale tikve vidno je da

tragiĉno tematsko-motivsko jezgro, umesto oĉuvanja sebi svojstvene nepatvorenosti,

biva podloţno uplivu motiva društveno-politiĉkog porekla (Korunović, 2010, str.70).

Ovu pojavu uviĊamo i u druga dva romana koji su tema ovog rada.

Prema strukturalnom tipu, ova tri romana oblikovana su kao romani lika.

MeĊutim, prisutni su razliĉiti postupci izgradnje lika:

U svakom od tih razliĉitih naĉina karakterizacije lik se moţe na poĉetku

romana pojaviti kao potpuna liĉnost koja poslije iz situacije u situaciju

oĉituje iste karakterne crte („statiĉki lik“), ili se u toku romana, pod

uticajem ţivotnih situacija, moţe toliko mijenjati da je na kraju drukĉiji

nego na poĉetku („dinamiĉki lik“). (Lešić, 2008, str. 375)

Prisustvom reljefnog oblikovanja likova uMihailovićevoj prozi utemeljuje se još jedna

estetska vrednost. Ljubina metamorfoza iskazuje se u promeni naĉina igre, u drugaĉijem

naĉinu ţivota u vremenu u kojem pripoveda od onog o kome pripoveda (opozicija u

ljubavnom ţivotu), dok su emotivnost, motiv nepripadnosti (na Apaša će se saţaliti

nakon tuĉe, iskazaće nerazumevanje i prema društvenopolitiĉkom duhu koji odiše

Dušanovcem, ali i naĉinu razmišljanja okoline u Švedskoj), impulsivnost (iznenadne

voţnje do Jugoslavije, odlazak iz Radniĉkog i sl.) i osoben naĉin govora permanentni.

Petrija će iznenaditi vreĊanjem prve svekrve nakon poraĊanja u štali, što će i sama istaći

(„Nisam nikad ni pomislila da ću da smem to da joj kaţem. Sad joj reko sve što mi na

srce leţalo“ (Mihailović, 2004, str. 21)),a promenu doţivljava i tokom boravka sa

Ljubišom koji ju je nauĉio da se lepše oblaĉi i da ravnopravno sa drugima komunicira,

bez potĉinjenosti, ali ono što će biti njene stalne osobine jesu snalaţljivost i briga o

drugima. U pogledu „špijunskog“ naĉina ponašanja i veĉite potrebe da bude drugaĉiji

od svoje istinske prirode (nesigurnost u ljubavnim odnosima, potreba da i kada je

besposlen odaje utisak zauzetosti i sl.) Sveta predstavlja odraz statiĉnosti, ali u pogledu

geneze samospoznaje krivice, govora koji koristi, kasnijeg bogatstva (iako suprotno

ideologiji koju predstavlja) naspram nekadašnjeg siromaštva, oliĉava svojstva

„dinamiĉkog lika“.

Mihailović putem navedenih postupaka graĊenja likova, koji postoje u

romanesknom svetu a istovremeno kao je reĉ o nekom iz ĉitaoĉevog neposrednog

okruţenja, ostvaruje komunikaciju s recipijentima. Inkorporacija društvenopolitiĉkih

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okolnosti našeg podneblja u skladu je sa visokim stepenom verodostojnosti likova i

radnje, što se oslikava u kompleksu ideja, specifiĉnom skazu, lokalitetima i autentiĉnim

dogaĊajima. Dominantna poetiĉka svojstva likova – stranac, izgnanstvo, otuĊenost,

neuklopljenost u sredinu, originalnost – ĉine Mihailovićeve protagoniste modernim

junacima. Opisivanje stvarnih dešavanja iz neposredne istorije i postavljanje

protagonistau realno vremene i prostor ĉine da sudbine i priĉe Mihailovićevih likova

budu nalik na svedoĉanstva iz naše neposredne okoline. Takva refleksija umetniĉkog

dela u spoznaji recipijenta u skladu je s poetskim oblikovanjem dogaĊaja koji su u

svesti kolektivnog duha nacije, s posebnim osvrtom na pojedinaĉne sudbine

savremenika. Neorealizam i kritizicam savremenog doba uz univerzalnost tema i

knjiţevnoumetniĉkih naĉela Mihailovićevu prozu postavljaju meĊu znaĉajna ostvarenja

naše knjiţevnosti.

LITERATURA

Andrejević, D. i Andrejević, A. (2014). Metaistorijska projekcija rata Miloša

Crnjanskog. Zbornik radova Filozofskog fakulteta u Prištini XLIV (3), 3–17. Dostupno

preko: http://scindeks-clanci.ceon.rs/data/pdf/0354-3293/2014/0354-32931403003A.pdf

Delić, L. (2008). Petrija – na dvostrukoj periferiji. Zbornik Matice srpske za knjiţevnost

i jezik 56 (2), 341–351. str. Dostupno preko:

http://www.maticasrpska.org.rs/stariSajt/casopisi/knjizevnost_56-2.pdf

Deretić, J. (1987). Kratka istorija srpske knjiţevnosti. Beograd: BIGZ.

Dţadţić, P. (1976). Iz dana u dan II. Beograd: Rad.

Elison, R. (1979). Društvo, moralnost i roman. U: M. Solar (ur.), Moderna teorija

romana.Beograd: Nolit.

Jeremić. Lj. (2007). O srpskim piscima. Beograd: SKZ.

Jovanović, J. (2013). Pripovedaĉ-lik: Ljuba Šampion u romanu Kad su cvetale tikve.

Zbornik Matice srpske za knjiţevnost i jezik 61 (1), 193–209. Dostupno preko:

http://www.maticasrpska.org.rs/wordpress/assets/Knjizevnost-61_I-papir-5.pdf

Korunović, G. (2010). Slika stranca u romanu Kad su cvetale tikve Dragoslava

Mihailovića. Knjiţevnost i jezikLVII (1–2), 59–72. Dostupno preko:

http://www.fil.bg.ac.rs/wp-content/uploads/izdavastvo/serijske-

publikacije/kij/Knjizevnost%20i%20jezik%201-2%202010.pdf

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MIHAILOVIĆA

Lešić, Z. (2008). Teorija knjiţevnosti. Beograd: Sluţbeni glasnik.

Mihailović, D. (2002). Treće proleće. Beograd: Biblioteka Dragoslava Mihailovića.

Mihailović, D. (2004a). Kad su cvetale tikve. Beograd: Biblioteka Dragoslava

Mihailovića.

Mihailović, D. (2004b). Petrijin venac. Beograd: Biblioteka Novosti.

Mihailović, D. (2010).Više sam voleo da slušam nego da pripovedam, razgovor

Dragoslava Mihailovića sa dr Robertom Hodelom. U: M. Pantić (ur.), Put po neprohodi

(41–64). Beograd: Biblioteka grada Beograda.

Nedić, M. (2010).Skica za portret Dragoslava Mihailovića.U: M. Pantić (ur.), Put po

neprohodi (89–98). Beograd: Biblioteka grada Beograda.

Palavestra, P. (1972). Posleratna srpska knjiţevnost 1945–1970. Beograd: Prosveta.

Vladušić, S. (2017). Elementi epskog sveta u romanu Kad su cvetale tikve Dragoslava

Mihailovića. Zbornik Matice srpske za knjiţevnost i jezik 65 (1), 175–186. Dostupno

preko: http://www.maticasrpska.org.rs/stariSajt/casopisi/ZMSKJ_65_1.pdf

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MILENA M. SRETIĆ

NEDA Z. NIKOLIĆ

INFLUENCE OF SOCIO-POLITICAL CIRCUMSTANCES IN THE PROSE

OF DRAGOSLAV MIHAILOVIĆ

Summary: By using representative examples from Dragoslav Mihailović‟s novels

Petrijin venac, Treće proleće and Kad su cvetale tikve and interpreting their narrative

processes, extratextual elements and correlations, the paper aims to explore the aesthetic

function of the socio-political circumstances transposed into the artistic world of the

novels. It is through these peculiarities of Mihajlović‟s writings and the employment of

the principles of non-fiction and neorealism that communication with the reader is

established. In this way, referencing real localities, languages, ideas and historic events

performs its poetic function.

Key words: prose, novel, communication, neorealism.




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207

PREGLEDNI RAD

DOI: 10.5937/reci1912207K

UDC: 821.163.41.09-93-1(497.16)

Sofija S. Kalezić-Đuriĉković*

Fakultet za crnogorski jezik i knjiţevnost, Cetinje

STVARALAŠTVO SAVREMENIH CRNOGORSKIH PJESNIKA ZA DJECU

Saţetak: Poezija za djecu u Crnoj Gori neprestano raste, obogaćuje se i postaje

sve prisutnija, kako u zemlji tako i u svom okruţenju, meĊu pjesnicima

crnogorskog porijekla. Rijeĉ je o stvaralaštvu koje ima svoj ţivi tok i u

posljednjih nekoliko decenija doţivljava uspon i afirmaciju. Bitna njena osobina

jeste antejska vezanost za porodicu i rodni kraj. Takve epske pretpostavke

ustupaju mjesto igri, humoru i fantastici, ĉime se prave prodori ka modernijem

stvaralaĉkom izrazu. Crnogorska poezija za djecu uspjela je da nadoknadi

poetiĉko i estetiĉko zaostajanje u odnosu na znatno razvijenije literature za djecu

u bivšim jugoslovenskim republikama, te da prevaziĊe vlastitu folklornu i

regionalnu obojenost. Osnovno njeno poetiĉko obiljeţje je ĉvrsta povezanost sa

modernistiĉkim strujanjima i motivima igre, koji su sve više u skladu sa

razvojem društva i procvatom nauĉnotehnološke civilizacije. U ovom radu

analizira se poetsko stvaralaštvo dva savremena crnogorska pjesnika za djecu –

Dejana Đonovića i Velimira Ralevića, koji su u velikoj mjeri bazirani na igri

rijeĉima i uopšte principu, odnosno ĉaroliji igre. Stihovi ovih crnogorskih poeta

savršeno su prilagoĊeni djeĉjem uzrastu, što ih ĉini lakim za pamćenje kod

najmlaĊe populacije.

Kljuĉne rijeĉi: djeca, djetinjstvo, poezija, modernost.

* [email protected]

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208 S O F I J A S . K A L E Z I Ć - Đ U R I Č K O V I Ć

Poznato je da autori mogu uspostaviti uspješnu komunikaciju sa misaonim i

osjećajnim svijetom djece samo autentiĉnim stihovima prvorazredne vrijednosti. Blagi

tonovi u toplim ritmiĉkim stihovima odraţavaju pjesniĉke recepcije jednog izvornog i

autentiĉnog svijeta, snoviĊenja, ĉudesne igre u bajkovitom beskraju. Vrijednosti

crnogorske poezije za djecu poĉivaju u umjetniĉki zanimljivim oblikovnim formama,

jednostavnosti i ljepoti pjesniĉkih slika, raznovrsnosti ideja i punoći osjećanja. Za

relativno kratko vrijeme pojavilo se više izbora i antologija crnogorske djeĉje poezije

(Dušan Đurišić, Slobodan Vukanović), u kojima je sintetizovano i afirmisano lirsko

stvaralaštvo kvalitetnih pjesnika.

I pored toga što je gluma njegova primarna profesionalna orijentacija, Dejan

Đonović (Kotor, 1965) se u domenu stvaralaštva namijenjenog najmlaĊima sa jednakim

uspjehom oprobao i u umjetnosti rijeĉi. Đonović je saĉuvao ţivo sjećanje na vlastito

djetinjstvo, koje je uspješno pretoĉio u svoju prvu poetsku zbirku Rasprodaja snova

(2000), nakon koje je publikovao Srce mi je šareno (2002), Odlična ideja (2004), Ptice

suglasnice (2009), Slane pjesme (2011) i Trema (2018).

Na njegove tekstove komponovano je preko sedamdeset kompozicija za djecu i

mlade koje su izvoĊene na festivalima djeĉje muzike širom regiona. Dobitnik je brojnih

nagrada za tekst i kompoziciju; piše i songove za pozorišne predstave i scenarije za

programe namijenjene djeci. Promocije svojih knjiga osmislio je putem kostimiranog

pjevanja i igranja, ĉime je pokazao višestruk smisao za kreativnost i lakoću u

povezivanju i meĊusobnoj kompatibilnosti razliĉitih grana umjetnosti.

Na stranicama svog literarnog prvijenca Rasprodaja snova, Dejan Đonović

demonstrira iskreni polet u trenutku kada se na crnogorskoj knjiţevnoj sceni osjeća

izvjesno strukturno ponavljanje i zamor. Naivnost, nevinost, ljupkost i bogata

imaginacija osobine su ove poetske zbirke, na ĉijim stranicama je autor sublimirao

najpozitivnija iskustva poezije za djecu uz koju je odrastao, od Branka Ćopića i Duška

Radovića, do Desanke Maksimović i Miroslava Antića.

„Đonović je“, u recenziji ove knjige napisala je Zorica Turjaĉanin,

kako je rekao Danojlić, odbio da poraste i uvrsti se u natmureni svijet

„velikih“ kome je radost davno zaboravila kućnu adresu... Jer

Rasprodaja snova je prva knjiga mladog autora i, usuĊujemo se reći

jedina koja je, nakon niza sušnih i nerodnih godina, obećala bogatiji

lirski berićet. Na stranicama svoje knjige Đonović skaĉe, pjeva, šali se,

raduje, pali iskriĉave prskalice dosjetki, svira na mnogim

instrumentima, leprša toplim melodijama juga, davnog zaviĉaja koji se,

poput plime, razlio preko zacrtalih obala u gugutave, nasmijane,

razigrane rime i ritmove pjevanja. (2000, str. 1)

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209


Kao mjera literarne umješnosti ovog pjesnika mogu se izdvojiti brojna njegova

ostvarenja iz ove zbirke, meĊu kojima Stidljiva pjesma uspjelo korespondira sa jednim

od primarnih djeĉjih osjećanja – stidom:

Kad na nebu limun rodi

kada krava snese jaje,

kad pohrli maĉka vodi

i kada se vuk pokaje

kad pokaţe zmija šape,

kada babi niknu zubi

kad peĉurke skinu kape,

kad ribara som poljubi,

– tek tada ću da izvolim,

da ti priznam da te volim. (Đonović, 2000, str. 37)

U Đonovićevom literarnom prvijencu po simpatiĉnosti i šarmu mogu se izdvojiti

pjesme: Rasprodaja snova, Kako bubamarama nestaju tačke, Super-Crvenkapica i

Čokoladno sunce.

Kao vrsta parodije na uhodane analitiĉke principe u nastavi i takoĊe ĉeste

vaspitno-popravne principe pri podizanju djece, moţe posluţiti primjer pjesme

Slovenska antiteza:

Da l‟ me peĉe

Tatin dlan što bije?

Ili bridi

Kad se kaiš svije?

Il‟ to boli s dunje prutić goli?

Nit‟ me peĉe,

A dlan nek se stidi,

Nit‟ od novog

Kaiša da bridi,

Niti boli

mene prutić goli.

Već me peĉe i bridi i boli

Dok me grde i mama i tata

OVO VEĈE,

Jer se noćas voli

Jedna NATA svima iz inata!

Mama, tata,

Priznajem krivicu!

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Ljubav nekad jedinice veze,

Popraviću svaku jedinicu –

Bez slovenske bolne antiteze! (Đonović, 2000, str. 31)

Pri završetku svoje prve knjige Đonović je objavio tekst po nazivom Pismo

čitaocu u kojem se na neposredan, duhovit i prijemĉiv naĉin obraća svojim malim

ĉitateljima. Pismo završava rijeĉima:

Ako me pitaš zašto ne postoji vjeĉita sreća odgovoriću ti: sreća umije

ponekad da uspava, pa kad se probudiš ona više nije tu. Sreću treba

nauĉiti podnijeti – budan. I ako me i ne pitaš, reći ću ti: ova knjiga je

posvećena mojoj majci, prelistao je sestrić Danilo, a kako se u

meĊuvremenu rodila sestriĉna Varja, izgleda da ću morati da napišem

još jednu knjigu. I da ne zaboravim... Dušu moraš da nauĉiš da dijeliš sa

drugima, da je ne potrošiš, da je uljepšavaš i dograĊuješ, da je ostavljaš

iza sebe – saĉuvanu... ! To je umjetnost – kada iza sebe ostaviš

NEIZBRISIVE TRAGOVE LJUBAVI... Tvoj Dejan. (Đonović, 2000,

str. 71)

Na zadnjim koricama knjige ispisana je Đonovićeva pjesma Meni treba jedna

beba, koju je posvetio Dušku Radoviću:

Meni treba jedna beba,

da me vedri i oblaĉi,

da me jedri, da me mlaĉi,

kosu ĉupa,

da u mome srcu lupa...

ĉim se rodi da pogodi

Ahilovu moju petu,

da mi dreĉi, da mi kmeĉi...

takva beba meni treba!

Kakva beba?

Prava beba,

da sleti sa sedmog neba –

najljepša na svijetu!” (Đonović, 2000, str. 40)

Druga Đonovićeva zbirka – Srce mi je šareno (pjesme za djecu i roditelje i

njihove prijatelje) objavljena je u izdanju Osmijeha (biblioteka “Sokolić”, savremena

crnogorska knjiţevnost za djecu i mlade), 2002. godine. Ovo ostvarenje je koncipirano

iz poetskih ciklusa koji prate dijete od najranijih perioda njegovog odrastanja: Banjica

za bebe, Hej, ne boj se, Neposlušna tajna, Tri pitanja za ogledalce i Samo mi pokaţi.

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211


„Ako je prva pjesniĉka zbirka Dejana Đonovića Rasprodaja snova, bila po

svojoj unutrašnjoj poetskoj strukturi najbliţa izrazu ,uronjenost u slike sopstvenog

djetinjstva‟, onda se nova knjiga, Srce mi je šareno, moţe oznaĉiti kao ,traganje za

iskonskim djetetom‟, u pogovoru ovoj knjizi napisao je Jovo Kneţević,

Jer svi pjesnici za djecu ustvari za njim tragaju; ĉeznu za iskonskim

djetetom, streme ka tom Zlatnom runu, praiskri odrastanja i svijeta...

Dejan Đonović je u novoj zbirci, na naĉin koji se najprije moţe nazvati

– darovitim, dostigao baš to: sjajnu ravnoteţu izmeĊu pjesniĉkih

pozicija: on je i roditelj i posmatraĉ i povratnik, i to kad zatreba – samo

jedno od njih, a kad zatreba – sve troje odjednom! (2009, str. 85–86)

U Đonovićevoj poeziji se kroz harmoniĉan spoj prepliću sjećanje i maštanje, pouka i

smijeh. U njegovim pjesmama ima mnogo muzikalnosti, ĉiste rime, scenskih detalja i

ţivih slika.

U izdanju Kreativnog centra 2004. godine publikovano je treće Đonovićevo

ostvarenje – Odlična ideja, koje je ušlo u najuţu konkurenciju za Nagradu „Politikinog

Zabavnika” navedene godine. Ova knjiga, dopunjena ilustracijama Nikole Vitkovića,

posvećena je temama odrastanja djeteta, porodiĉnih odnosa i njegovim prvim koracima

kroz ţivot.

Kao najuspjelije njegove pjesme mogu se izdvojiti one koje odslikavaju tzv.

nonsensnu poeziju, kao što je, primjera radi, pjesma Uspavanka, ĉiji završni stihovi

glase: „Bigu-ligu, ĉiĉa-miĉa/ uspava me ova priĉa,/ didu-lidu, njonja-njanja/ došlo doba

da se sanja“ (Đonović, 2004, str. 12). Od ostalih poetskih stuktura mogu se izdvojiti one

koje se odnose na stvari i pojmove iz neposrednog djeĉjeg okruţenja (Cmok, Pupak,

Društvena pjesma, Štikle, Patike), umjetniĉko odslikavanje situacija karakteristiĉnih za

djetinjstvo na duhovit naĉin (Babica, Tatamama, Probudalka, Tata kupa zvijezdu), te

davanje savjeta za snalaţenje (Evo šipak Babarogi, Lipa).

Humoristiĉno opisana razlikovnost izmeĊu djeĉje mašte i stvarnosti prikazana je

u pjesmama Strašni gusar i Rok an fol, dok je situaciona komika na uspio naĉin došla

do izraza u pjesmi Iz Engleske došla patka. Patkina potraga završava se ljubavnim

dijalogom pisanim u kombinaciji engleskog i crnogorskog jezika, što je boji

savremenošću i duhovitošću, odnosno time da postaje fazon-pjesma: „SviĊaš mi se,

baby, yes! / Give me, give me tvoj address! / Imaš very beauty friz. / Rodi mi paĉiće,

please!“ (Đonović, 2004, str. 21–22). Posljednja ostvarenja u ovoj knjizi posvećena

djeĉacima i djevojĉicama koji polaze u školu nose nazive Škola zove u junake i Škola

zove u princeze.

„Ako bi trebalo sumirati osnovne karakteristike ove pjesniĉke zbirke moglo bi

se reći da Đonović u svojoj drugoj knjizi Odlična ideja uspjelo kombinuje tradicionalni

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prikazivaĉko-deskriptivni model pjevanja sa ,sagovaraĉkim‟ modelom radovićevskog

tipa“, o umjetniĉkim odlikama ove Đonovićeve poetske zbirke piše Svetlana Kalezić-

Radonjić.

PrilagoĊavanje djeĉjoj taĉki gledišta, a na drugoj strani iznevjereno

oĉekivanje kroz pomijeranje perspektive u sagledavanju stvarnosti –

dvije su strane izmeĊu kojih se kreće Đonovićevo poetsko klatno, što

ovu zbirku ĉini naglašeno dinamiĉnom. Na kraju, išĉitavanjem ove

zbirke jasno se otjelotvoruje jedan od stavova Dušana Radovića – pravi

pjesnik je onaj koji zna da „proceni vrednost sadrţine“ i podari joj

„odgovarajući oblik i duţinu“. Kada se tome doda i izuzetna emocija

kojom ova knjiga isijava, sasvim je jasno ĉime je poploĉan najkraći i

najdirektniji put do zahtjevne djeĉje ĉitalaĉke publike – kvalitetom.

(2009, str. 196)

Dejan Đonović je ostvario znaĉajan pomak u odnosu na dotadašnju crnogorsku

knjiţevnu scenu u domenu poezije za najmlaĊe, ispunivši je i nadogradivši toplim i

lirski intoniranim umjetniĉkim prizorima, te svjeţim i neobiĉnim jeziĉkim

kombinacijama. Njegovoj poeziji nije potrebno traţiti povode jer nas ona neprestano

podsjeća na to da smo, u ţurbi da odrastemo i okušamo raznovrsna iskustva zrelosti,

zaboravili da smo nekada bili djeca.

Stvaralaštvo ovog umjetnika motivski je raznovrsno, što je posebno upadljivo u

„pjesmama sa dna mora“ (zbirka Slane pjesme) i „cvrkutavim pjesmama“ (knjiga Ptice

suglasnice). Ove tvorevine saopštene su iz ugla djeteta. Lirski subjekat se pita: Zašto

sole more?, Zašto je jastog crvene boje?, Zašto ribe ćute?, Zašto krabe hodaju u

stranu?, Kako su nastali prvi karnevali? Na takvim poetiĉkim temeljima pjesnik

paţljivo gradi svoj poetski svijet kroz humor i nesputanu imaginaciju.

„Poseban dio Đonovićevog pjesniĉkog opusa ĉine pjesme koje pojedinim

glasovima daju pozornicu za isticanje (takva je cijela zbirka Ptice suglasnice) i koje

mogu posluţiti kao dio vaţnih školskih sadrţaja u prvom ciklusu“, o humoru, autorovoj

slobodnoj fantaziji i sklonosti ka igri piše Dijana Vuĉković.

Naime, pored svih igrivih i ĉesto humornih dejstava, ove pjesme su

izuzetne za vjeţbe slušanja, artikulacije glasova na razliĉitim

pozicijama, a potencijalno mogu biti sadrţaj koji podstiĉe djeĉije

jeziĉko stvaralaštvo. Poezijonosni humorni efekti ĉesto se javljaju u

nesaglasju i prelasku sa velikih na male stvari i tokom uviĊanja neke

sliĉnosti u potpuno nepovezanim pojmovima ili pojavama na osnovu

samo jedne istaknute osobine. Upravo na tim osnovama ĉitamo i pjesmu

Hipi-ţalosna vrba, koja donosi svijet naizgled zabrinut nad sudbinom

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ţalosne vrbe ĉija „frizura“ (krošnja) djeluje neuredno, a taj svijet nakon

svih briga i tuţnih ideja o razlozima vrbine „skrušenosti“, na kraju biva

iznenaĊen, baš kao i ĉitaoci, vrbinim reagovanjem. Ona je, naime, vrlo

radosna (kontrast imenu ţalosna vrba), u pubertetu je i njena frizura

prati svjetske modne trendove. Ovakvim uoĉavanjima motivskih relacija

Đonović pokazuje talenat za posmatranje svijeta pod djetinjom

prizmom, što je vaţan korak u njegovoj poetskoj komunikaciji sa

mladim ĉitaocima. (2016, str. 150)

Na posljednjoj stranici Slanih pjesmi koncipiran je neobiĉan pogovor uz koji je

dat rjeĉnik manje poznatih termina pod duhovitim nazivom: Cvrkut-dva o

mogućnostima knjige, koji je napisala „urednica Jeca“, tj. Jelena Đonović, Dejanova

supruga. Ova knjiga je odista sva data u jedinstvenom onomatopeiĉnom „cvrkutu“, kroz

koji autor darovito oponaša zvuke u prirodi, provjeravajući i obogaćujući njihov efekat

na djeĉju psihu i saznajne dijapazone.

Posljednje ostvarenje iz zbirke Slane pjesme nosi naziv Boka spava:

Gledaj ĉuda... Boki snenoj

noću Lovćen zvijezde lovi.

Po plavetnoj kosi njenoj

brod mjeseĉev njeţno plovi.

Ispod školja ribe ţmure,

plava nit se odmotava.

Zatvorila slane škure,

pa ko dijete Boka spava.

Boka spava, Boka spava,

u kolijevci od planina.

Katkada se morska trava

javi srebrom iz dubina.

Boka spava, spava Boka...

Svaka njena barka snena

krije ispod svoga boka

dva talasa zaljubljena. (Đonović, 2011, str. 51)

Za poetske zbirke Ptice suglasnice i Slane pjesme, pjesnik je ušao u najuţu

konkurenciju za nagradu Mali princ. Đonovićeve zbirke poezije za djecu bogato su i

raznovrsno ilustrovane, što je jasan pokazatelj autorovog razumijevanja djeĉijeg

sinkretiĉkog doţivljaja umjetnosti, njihovih prefinjenih osjećanja u ĉijim okvirima

posebno vaţno mjesto zauzimaju provokativnost, duhovitost i neobiĉnost doţivljavanja

stvarnosnih pojava.

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***

Moderna djeĉja pjesma predstavlja ĉudesan spoj muzike, finog nonsensa,

blistave kombinatorike, praskave i stalno odrţavane humorne atmosfere. Ona ima u sebi

mnogo od djeĉjeg viĊenja i doţivljavanja svijeta, njihovog nivoa poznavanja ţivota. U

modernoj pjesmi sve je iracionalno jer umjesto zbilje i logike – ona nudi smijeh. Upravo

zato što je sloboda unutar djeĉjeg bića i što ga priroda daruje obiljem mašte, dijete je

stanovnik „svaĉije i niĉije“ zemlje.

Autor koji je privukao paţnju djeĉje ĉitalaĉke publike upravo ovakvom vrstom

poetskog stvaralaštva je Velimir Ralević (Berane, 1970), sa svojim kvantitativno i

kvalitativno zapaţenim djelom, koje ĉine zbirke poezije za djecu: Mravinjak u ţitnom

polju (1995), Svitac u grlu (1997), Mirišem na ljubav (2000), Zlatni prozor (2002),

Tanjini prsti zvone (2004), Brod u ţitu (2006), Zaljubljeni vitez (2009), Mjesečarenje na

suncu (2011), Bečkerečka mečka (2013), Kroz ţivot jurišaj (2014).

Ralevićeve pjesme zastupljene su u brojnim zbornicima i ĉasopisima, te u preko

trideset antologija u Crnoj Gori i susjednim zemljama. Ovaj pjesnik za djecu dobitnik je

mnogih nagrada i priznanja, od Vidovdanske povelje i nagrade Udruţenja knjiţevnika

Crne Gore za djeĉju knjigu godine, do meĊunarodnih nagrada za ukupno knjiţevno

stvaralaštvo „Stara maslina“ i „Zlatno Gašino pero“. Pojedine Ralevićeve pjesme

prevedene su na engleski, ruski, rusinski, bugarski, makedonski i luţiĉkosrpski jezik,

dok su druge izvoĊene i nagraĊivane na djeĉjim muziĉkim festivalima.

Ralević u svojim poĉetnim zbirkama poezije Mravinjak u ţitnom polju i Svitac u

grlu pjeva o ljubavi kao najvaţnijem uslovu odrastanja i sazrijevanja. Njegove pjesme

pune su topline i naglašenog šarma, iskrenosti i ljubavi. Ĉak i kada nisu u pitanju ĉisto

ljubavne pjesme, u njima je uvijek prisutna pjesnikova neposrednost podstaknuta

djetetom koje je uspio da saĉuva u sebi. „Ralević je isto kao i dobar vetar, nenadani

pljusak, grudva pritegnuta do prve kapi ili, moţda, svitac koji, već sa korica ove knjige,

svetlucanja preslaţe u svetlost. U našoj ukupnoj pevaniji za decu, evo autentiĉnog

pesnika“, nadahnuto je pisao o Ralevićevoj poetskoj zbirci Svitac u grlu Mošo

Odalović. „U poduţoj oskudici sveţih glasova, Ralević je s velikim poštovanjem

doĉekan u pesniĉkom bratstvu detinjastih“ (Odalović, 2011, str. 75).

Već u narednoj poetskoj zbirci nazvanoj Mirišem na ljubav pjesnik pokazuje da

je pisanje za djecu za njega ĉist estetski, stvaralaĉki ĉin, koji njegova ostvarenja

pribiliţava nadrealnom. Pisanje pjesama za djecu je putovanje u svijet nemogućeg, to je

stvaranje utopijskog. Pisati jednostavno, a da to bude umjetnost, nije baš lako, s

obzirom da nijedno djelo za odrasle nije dovoljno dobro za djecu, dok je svako uspjelo

djelo za djecu dovoljno dobro za odrasle. Poezija za djecu ne ide daleko od djetinjstva,

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od njihove unutarnje teţnje da spoznaju sebe i svijet kojim su okruţeni. Ne ide daleko

od zaviĉaja, jer je to mladom ĉovjeku blisko, a bliska mu je i ljubav prema ĉlanovima

porodice i prema ljudima uopšte.

Poetska zbirka Zlatni prozor moţe se doţivjeti kao ljubavna balada djeĉaka koji

stoji na pragu mladićkog doba. Kroz njegovu viziju otvara se ĉudesan pogled na jedan

drugi svijet – svijet neslućene ljepote doţivljaja stvarnosti i naglašene imaginativnosti.

Ralević se pokazuje kao poštovalac djeĉje potrebe za muziĉki ĉistom poezijom, sa

naglašenom ritmiĉnošću i simboliĉnošću. Posljednja pjesma u zbirci Zlatni prozor pod

nazivom Odlazak doţivljava se kao svojevrsna pozivnica na prva ţivotna iskušenja i

radosti.

„Svijet ove knjige je, u stvari, svijet koji je neophodno proći da bi se stiglo do

Maštarije“, u pogovoru zbirci Zlatni prozor pod nazivom Pozivnica/Pogovor (Mami nas

nešto zlatno), napisao je Mirko Vuković.

Njen unutrašnji svijet se ĉini kao dugin slavoluk ispod koga morate

proći svaki put kada zamislite neku ţelju. „Tajna svjetlost“ koju pratimo

kreće se kroz knjigu i izvan nje po jednoj kruţnoj putanji. Pri tom

zamišljena kruţnica neraskidivo vezuje svijet knjige i svijet izvan

knjige. Tako nas pjesnik zapravo uĉi samim suštinskim stvarima: zašto

se ĉita i kako se ĉita, u krajnjoj liniji, zašto se uopšte piše i ĉemu, u

stvari, sluţe knjige za djecu. Naravouĉenije, draga dejco, ĉitajte i

maštajte, maštajte i ĉitajte. Ili, da se opet posluţimo Ralevićevim

stihom, jer on to uvijek bolje kaţe: Koliko letiš toliko i roni i svjetlost

bićeš. (Vuković, 2009, str. 95)

Jakim stihovima i iskrenim emocijama, jarkim bojama, mirisima ljeta, šuma i

djetinjstva napisane su naredne Ralevićeve poetske zbirke Tanjini prsti zvone, Brod u

ţitu i Zaljubljeni vitez.

Oni koji su voleli, oni koji vole, znaju: nijedan cvet, nijedna voćka, ništa

u ovom svemiru ne moţe tako opojno, tako oĉaravajuće i tako

širokoznaĉno kao ljubav mirisati. Ljubav miriše na majĉinu dušu, na

sestrinsku veliku brigu, na devojaĉke bele grudi, na meku penastu

svetlost meseĉine... ReĊajte, nabrajajte na šta vam sve lepo i znaĉajno

ljubav miriše i videćete, napravićete mali leksikon lepote i radosti kakav

je, evo naravno i pesnik Velimir Ralević u ovoj knjizi koja je stvarana i

stvorena upravo za one koji prvi put vole ili će tek voleti i novim

znaĉenjima ljubav imenovati,

napisao je Aco Rakoĉević (2006, str. 15) povodom pojavljivanja Ralevićeve zbirke

Brod u ţitu.

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Kod ovog stvaraoca nema napora stvaranja stiha, oni izlaze iz njegove duše i srca

viĊeni stvaralaĉkom energijom punom intenzivnih emocija. Najveći dio crnogorske

poezije za djecu receptivno upućen je na mlaĊi ĉitalaĉki uzrast, te nije ĉest sluĉaj da

neko piše poeziju koja za ciljnu ĉitalaĉku publiku ima tinejdţere. Pjesnik osvjetljava

svijet mladih koji se bore za osvajanje slobode, lišene stega škole i strogog porodiĉnog

vaspitanja, prikazujući fenomen sazrijevanja u njegovom totalitetu.

Pojedine Ralevićeve pjesme su znaĉenjski polivalentne i djeluju kao da se

svojom refleksivnošću jednako mogu pronaći odrasli i djeca u njima:

Zapjevah u polju raţi

S nebom meĊu dlanovima

Ĉitav ţivot sebe traţih

Ne naĊoh se – svud me ima

...A zemljom još vjetar rţe

Da mi je kraj zlatne rude

Sni djeĉiji da me drţe

I kad tiha šuma budem (Ralević, 2009, str. 78),

stihovi su pjesme Zapjevah u polju raţi.

O neobiĉnom kombinovanju arhaiĉnog i modernog u poetskom izrazu ovog

pjesnika, pisala je Jelena Đonović:

On uspješno brodi izmeĊu starog i novog, kao i izmeĊu djetinjstva i

zrelosti, jer samo tako moţe odbroditi u pjesmu i dobroditi u sigurnu

luku, poeziju, svojim jedinstvenim stilom – „jurišanjem“. On je i ratnik i

vitez-spasilac, i dijete i ĉovjek, a nije ni jedno ni drugo, sasvim i

potpuno, već je samo pjesnik za koga su ţivot i pjesme jedino što je

uvijek isto, te je to jedina njegova istina, njegov „Nevidljivi brod“, kako

naziva jednu svoju pjesmu i ĉitavo poglavlje zbirke Brod u ţitu.

(Đonović, 2016, str. 198)

Zbirka Mjesečarenje na suncu sastoji se iz tri segmenta – Razgovor s vjetrom,

Slovne igrarije za mlaĎe i starije i Kroz ţivot jurišaj. „Pjesme Velimira Ralevića su

posebne i prepoznatljive“, Pero Zubac piše o originalnim motivima i naĉinima njihove

umjetniĉke realizacije u poeziji Velimira Ralevića.

U nevelikom jatu valjanih pesnika za decu, Ralević se izdvaja kako

humorom, tako i svojom mekom, prozaiĉnom liriĉnošću, nekom

ĉeznutljivom i sentimentalnom strofom, tako blagom i natopljenom

neţnošću... Njegove pesme zraĉe iskrenošću i lepotom,

gospodstvenošću iskaza. Sve je u ovim pesmama sveĉano i osvetljeno

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jasnoćom radosti pevanja, i priroda i osmeh i tuga, a tako slikovito sve

napisano i opisano, da ĉitalac razaznaje boje reĉi. Drugujući s

Ralevićem odmah sam shvatio da ima ko da odmeni velike, starije,

lektirne pisce. Jedan sjajan, ĉudesan pesnik, pridruţio se zlatnom

plemenu pisaca za decu na ovim našim prostorima. (Zubac, 2011, str.

75).

Strofe za djecu, ali i za one koji to ţele da budu, ĉitaocima pruţaju boravak u njeţnom,

toplom i bezbriţnom svijetu.

Svojom zbirkom pjesama pod nazivom Bečkerečka mečka Ralević još jednom

pokazuje da za pisanje i doţivljavanje djeĉje poezije nisu bitne godine ni granice, pa ni

odreĊivanja vremena. Umjesto od logike, u ovoj zbirci autor polazi od igre u kojoj

ostvaruje posebnu vrstu smisla. U njegovim pjesmama prisutan je neobiĉan spreg

muzike i kombinacije rijeĉi, koja je puna neobiĉnog i praskavog humora. Da bi bio

uspostavljen sistem znaĉenja, treba posegnuti za iracionalnim i potraţiti smisao, pa je

njegova pjesma na razmeĊi sna i jave. Ona nameće potrebu traganja za neĉim ĉega

nema i što je izvan zbilje.

Nije samo taĉka gledišta ono što pribliţava njegova ostvarenja mladim

ĉitaocima, već i specifiĉan jezik koji obiluje ţargonizmima i kolokvijalizmima. Poseban

efekat imaju pjesme u kojima se kroz sufikse ili tepanje oĉuĊava jezik, što proizvodi

humoristiĉan efekat, bilo da se time imitira utisak španskog (Bečkerečka mečka) ili

djeĉjeg jeziĉkog modela kao što je sluĉaj u pjesmi Budes li moja

Budes li moja molam ti leci

Nasu ces lubav ko klov da gladis

Ja nisam dlugi i nisam tleci

Plipazi mala doblo sto ladis.

Najlepse snove uz mene snices

Ako li odes bluka ce puci

Budes li moja – a znam da bices

Zvlndanja nema – vltic pa kuci.

Lubav nasu ja cu da velicam

I kad ploĎe leto pedeceto

Zato slusaj mala sto ti plicam

Ja sam ploso sito i reseto (Ralević, 2013, str. 45).

Zanimljiv jeziĉki eksperiment u ovoj zbirci predstavlja pjesma SvilopLET koja

kombinacijom munuskula i majuskula proizvodi efekat teksta u tekstu. Pjesma koja

podjednako djeluje da je namijenjena mlaĊoj i starijoj ĉitalaĉkoj publici jeste Čajevi:

„Od ĉajeva / Iz naših krajeva / Najrašireniji je steĉaj / Pa za liderski teĉaj / I znaĉajne

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vrste ĉaja / Iz grupacije oĉaja“ (Ralević, 2013, str. 33). Osim pjesama u kojima je vidna

satiriĉna oštrica na sadašnje društveno i ekonomsko stanje, ovaj pjesnik poseban vid

humora gradi karikiranjem crnogorskog mentaliteta realizovanim kroz sudar

plemensko-patrijarhalnog i modernog sistema vrednovanja i ponašanja. TakoĊe, sliĉan

efekat on postiţe baštineći folklorne motive rodnog podneblja i ugraĊujući ih u vlastitu

poetsku strukturu pjesme.

U njegovim pjesmama je normalno da vrabac raĉuna, da ţivotinje daju oglase u

štampi, a da ajkule puše na lulu. Pjesnik dodaje svemu ljudske osobine, a dijete voli da

se stavlja u poloţaj raznih stvari, pojava i ţivotinja, da ih oponaša, da se identifikuje sa

njima. Ralevićeve pjesme djeci ulivaju poletnost i samopouzdanje, eksponirajući

otvorenu i direktno izraţenu poruku, kao što je sluĉaj u pjesmi Kroz ţivot jurišaj:

„Cvjetaju boţuri / Smiju se neveni / Poleti poţuri / Dane oplemeni. / Zlo doba stišaj /

Ljubavlju maštom / Kroz ţivot jurišaj / Zvjezdanim plaštom“ (Ralević, 2011, str. 71).

Ljubavna i refleksivna motivika rijetko su u crnogorskoj knjiţevnosti za djecu tretirane

na tako smio i maštovit naĉin kao kod Ralevića, s obzirom na to da gotovo sve njegove

pjesme obiluju bogatim slikama i humoristiĉkim elementima.

„Kao i u prethodnim knjigama, tako i u ovoj, sa divnom naslovom Kroz ţivot

jurišaj, Ralević ne prestaje da nas oduševljava uzvišenošću svog pjesniĉkog izraza“, u

recenziji zbirke Kroz ţivot jurišaj napisao je Dragomir Ćulafić.

Uz poseban humor, dobrotu i ljubav koje su protkane kroz sve njegove

pjesme, Ralević ĉesto i oneobiĉava jezik, ĉime postiţe izuzetne efekte.

A da je, uz sve ovo, i vrstan, tanani liriĉar, potvrĊuje i pjesma Brdo:

„Moje malo selo / kao da se stidi / u dnu brda sjelo / jedva da se vidi. /

Ja iznad na brdu / na samom vrhuncu / pravim kuću tvrdu / da sam bliţi

suncu.“ Velimir Ralević je odavno potvrdio da je napravio svoju

pjesniĉku kuću na brdu, i to tvrdu i na samom vrhuncu. (Ćulafić, 2015,

str. 2)

U poetskoj zbirci Ţelim ti reći koncipiranoj iz poglavlja Mirišem na ljubav, Moj

problemos i Nevidljivi brod, Ralević se još jednom potvrĊuje kao jedan od

najautentiĉnijih savremenih pjesnika za djecu i mlade u Crnoj Gori, s obzirom na to da

nije mnogo pisaca do sada uspjelo da u svoje stvaralaštvo uplete igru rijeĉi i jezika.

Jeziĉke igre mogu ĉak da proizvedu jezik i da se poistovjećuju s ljudskim odnosima da

bi se na kraju sve svelo na to da se rijeĉi igraju s nama, a ne mi sa njima.

U pjesmama Moj problemos i Kad se vraćah iz školinjo, Ralević proizvodi

humorni efekat time što stvara utisak španskog jezika:

Ugojen sam kao silos

Debeo mi vratos nosos

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Leţim pušim cigarilos

Izbjegavam svaki posos.

Ali kad mi treba paros

skoknem brzo do posteljos

Kleĉim molim s punos ţaros

Ispred goljos roditeljos.

Arlauĉem ja po patos

Jer hoćos da budem budţos

Jadna mamos jadni tatos

Uhvate se za glavudţos.

Komšija im kaţe s ţenos

- Kukos vamos sa kretenos. (Ralević, 2015, str. 43)

Ralevićeva pjesma je u potpunosti osloboĊena naslijeĊa i tradicije, tematski

vezana za mališane i njihovo saznavanje i spoznavanje raznovrsnih emocija i ţivotnih

manifestacija. U njenom središtu po pravilu je dijete koje teţi ka uvaţavanju i

poštovanju njegove liĉnosti i iskustva. Krećući se na relacijama izmeĊu sna i

imaginacije, pjesnik je uzeo ono što je najvrjednije u pisanoj rijeĉi, u većini pjesama se

usprotivivši ustaljenom shvatanju da poezija za djecu mora imati epsko-lirski karakter,

odnosno da mora biti priĉa u stihu. Stoga Velimira Ralevića moţemo smatrati

zaĉetnikom moderne poezije za djecu na crnogorskim prostorima, koji je nametnuo nov

sistem poetiĉnosti kroz smisao, ritmiku, simpatiĉnost i šarm stiha.

LITERATURA:

Ćulafić, D. (2015). Od zlata lirika. U: V. Ralević, Ţelim ti reći (72–78). Lazarevac:

Biblioteka „Dimitrije Tucović“.

Đonović J. (2016). Arhaiĉno i moderno u Ralevićevom „jurišanju“ kroz pjesme. U: S.

Kalezić-Radonjić (prir.), Savremena crnogorska knjiţevnost za djecu i omladinu I,

(197–203). Bijelo Polje: Ratkovićeve veĉeri poezije, Podgorica: Institut za djeĉiju i

omladinsku knjiţevnost.

Đonović, D. (2000). Rasprodaja snova. Banja Luka, Beograd: Zaduţbina „Petar

Koĉić“.

Đonović, D. (2004). Odlična ideja. Beograd: Kreativni centar.

Đonović, D. (2011). Slane pjesme. Podgorica: autorsko izdanje.

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Kalezić-Radonjić, S. (2009). Kupanje zvijezda. U: M. Đuriĉković (prir.), Sunce u

prozoru (Kritika o knjiţevnosti u Crnoj Gori za djecu i mlade) (196–205). Podgorica:

Gligorije Dijak.

Kneţević, J. (2009). Odrastanje i sazrijevanje, Kritika o knjiţevnosti u Crnoj Gori za

decu i mlade. Podgorica: Gligorije Dijak.

Odalović, M. (2011). Rekli su.... U: V. Ralević, Mjesečarenje na suncu (74–79).

Berane: Tokovi.

Rakoĉević, A. (2006). Slovo o knjizi „Brod u ţitu”. Priština: Panorama.

Ralević, V. (2009). Zaljubljeni vitez. Berane: JU Centar za kulturu.

Ralević, V. (2011). Mjesečarenje na suncu. Berane: Tokovi.

Ralević, V. (2013). Bečkerečka mečka. Berane: Centar za kulturu / ĉasopis Tokovi.

Ralević, V. (2015). Ţelim ti reći. Lazarevac: Biblioteka „Dimitrije Tucović“.

Turjaĉanin, Z. (2000). „Rasprodaja snova“ Dejana Đonovića. Banja Luka, Beograd:

Zaduţbina „Petar Koĉić“.

Vuĉković, D. (2016). Humor, igra i slobodna fantazija u poeziji Dejana Đonovića. U: S.

Kalezić-Radonjić (prir.), Savremena crnogorska knjiţevnost za djecu i omladinu (147–

154). Bijelo Polje: Ratkovićeve veĉeri poezije, Podgorica: Idok.

Vuković, M. (2009). Mami naš nešto zlatno. U: M. Đuriĉković (prir.), Sunce u prozoru,

Kritika o knjiţevnosti u Crnoj Gori za decu i mlade (82–91). Podgorica: Gligorje Dijak.

Zubac, P. (2011). Rekli su.... U: V. Ralević, Mjesečarenje na suncu (72–78). Berane:

Tokovi.

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221


SOFIJA KALEZIĆ-ĐURIĈKOVIĆ

THE WORK OF CONTEMPORARY MONTENEGRIN POETS FOR CHILDREN

Summary: Poetry for children is constantly growing, being enriched and becoming

more and more widespread both in Montenegro and among poets of Montenegrin origin

in the region (Dušan Đurišić, Ivan Ceković, Dušan Govedarica, Dragomir Ćulafić,

Dragan Radulović, Dragiša Jovović, Miroslav Jovanović Timotijev, Borislav Jovanović,

Velimir Ralević, Dejan Đonović and others). This type of literature has its own living

flow and has experienced a rise and affirmation in the last few decades. One of its

important features is an Antean attachment to family and native region. Such epic

assumptions give way to play, humour and fantasy, thus forging a more modern creative

expression. Montenegrin poetry for children has succeeded in compensating for the

poetic and aesthetic lagging behind the much more developed children‟s literature in

former Yugoslav republics, as well as in overcoming its own folk and regional themes.

Its basic poetic feature is a strong connection with modernist currents and the motifs of

play, which are increasingly in line with the development of society and the flourishing

of scientific and technological civilization. This paper analyses the poetic works of two

contemporary Montenegrin poets for children – Dejan Đonović and Velimir Ralević,

whose work is largely based on wordplay and the principle or magic of play. The verses

of these Montenegrin poets are perfectly suited to childhood, which makes them easily

memorisable for the youngest population.

Key words: children, childhood, poetry, modernity.


Datum ispravki: /


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222

PRIKAZI

PRIKAZ

Kjell B. Magnusson*

Uppsala University

The Hugo Valentin Centre

PETER HANDKE AND SERBIA

There are three kinds of reactions to the Nobel Prize in Literature for 2019: those

who condemn Peter Handke and the Academy; those who argue that Handke deserves

the prize, but criticise his views on the Balkan wars; and those who unreservedly regard

him as a worthy laureate.

According to the critics, not only did Handke side with the Serbs in the 1990s; he

actively supported Milošević, visited him in The Hague, and spoke at his funeral. In

addition, he questioned what happened in Srebrenica.

Perhaps the criticism says more about our own cultural climate than about the

author himself, and we may assume that few have read what Handke has actually

written on the matter. Instead, opinions are often based on loose quotes and second- or

third-hand information.

Handke deals with the conflicts in former Yugoslavia in an account of a trip to

Serbia in the late autumn of 1995, in a follow-up in the summer of 1996, including a

* [email protected]

Published in Swedish under the title “Kritiken mot Handke dåligt underbyggd” in the

journal Respons no. 5-2019, pp. 6–7 (31 October 2019) and in Serbian under the title

“Handke i Srbija” in the newspaper Politika, p. 20 (11 November 2019).

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223


visit to eastern Bosnia, as well as in his book on Serbia during the bombings in 1999.

There is also an essay on the Tribunal in The Hague, 2003, and another on a meeting

with Milošević, 2006, and finally a text from 2011 on the former television director

Dragoljub Milanović who received ten years in prison for the death of 16 co-workers

killed by NATO bombs. None of these works have been translated into Swedish (and

only one into English).

The first text, entitled A Winter Journey to the Rivers Danube, Sava, Morava,

and Drina – or Justice for Serbia, was published in January 1996, after the Dayton

Accords, when the wars in the Balkans appeared to have ended. Thus, Handke did not

participate in the debate on Bosnia between 1992 and 1995, and no one could, at the

time, have been “shocked by his positions during the Balkan war”.

The travel diary from 1996 displays qualities regarded typical of Handke‟s

writing: the slow rhythm, subtle descriptions of events, places and moods; reflections on

the author's stance and the role of language; all taken into consideration by the Nobel

committee. Milošević is mentioned once, when Handke quotes a Spiegel-article on

Dayton; but he does not express any sympathy with Serbian nationalism, nor does he

question the massacre in Srebrenica. However, he believes that the Serbs are not solely

responsible for the war and he is disturbed by linguistic manipulations. “A part of me

couldn't take sides, even less condemn.”

It is impossible to overlook Handke‟s origin. In “Farewell to the Dreamer of the

Ninth Country,” from 1991, as in the travel diary, he speaks of his mother, born in a

Slovene-speaking village in Carinthia, of his grandfather who in 1920 voted for joining

Yugoslavia, and of his own return to Slovenian culture after a childhood in Berlin. For

Handke, Slovenia was part of a larger South Slav region, extending from the Alps to the

Byzantine churches and Albanian mosques of Macedonia.

The break with Slovenia begins during the 1980s when guest workers from

southern Yugoslavia, in the rhetoric of intellectuals, were perceived as a threat to

Slovene identity and their undeveloped home republics regarded as economic

exploiters. Handke distances himself from any idea of a civilised Central Europe

superior to the primitive Balkans, and sees no need for a Slovene or Croatian state. He

describes how most of the victims during the Slovenian “War of Liberation” in 1991

were conscripts who did not open fire, but were shot by middle-aged Slovenian home-

guards.

The core of the book is a moral critique of a Germany that no longer wishes to be

reminded of crimes committed during World War II. Karoline von Oppen points out, in

her essay “Justice for Peter Handke”, that his journey is, in fact, a pilgrimage to the

sites of death, starting with Zemun, where Jewish women and children detained in a

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224 K J E L L B . M A G N U S S O N

camp run by Ustasha were killed in a mobile gas chamber driven by Germans. The

journey goes on to Kragujevac and Kraljevo, towns of massacres. In the text, Handke

reflects on how German journalists called upon Serbs in Croatia to accept their status as

second-class citizens, which must be related to “the never forgotten persecutions under

the Hitlerite-Croatian Ustasha regime”. He responds to charges of Serb paranoia by

asking “how conscious was the German (and Austrian) people of what it did and made

others do, again and again” in the Balkans.

During Yugoslavia‟s dissolution, Germany ignored European agreements and

recognized the independence of Slovenia and Croatia before a settlement was reached.

German policy was at least as questionable during the bombings in 1999, when military

intelligence produced embarrassing fake news. (See Brigadier General Heinz Loquai‟s

book on “the war that could have been avoided”).

The texts on The Hague contain interesting observations on the court's work in a

dramaturgical perspective, as well as an odd meeting where Handke listens to

Milošević‟s expositions for three hours, unable to interrupt him. He had been asked by

the defence attorneys to testify, which he declined. However, he later agreed to attend

the funeral.

It is difficult to find support in Handke' s writings for his alleged views. In

addition, the parallel made to Ezra Pound is only valid if Milošević were Hitler and the

war in Bosnia equivalent to the Holocaust. If so, one would have to disregard historical

reality and reinterpret the Genocide Convention in a way that relativizes the murder of

the European Jews. We should be able to distance ourselves from violence without

using a rhetoric that becomes vacuous and immoral.

REFERENCES

Handke, P. (2017). Abschied des Träumers vom Neunten Land; Einte winterliche Reise

zu den Flüssen Donau, Save, Morawa, und Drina oder Gerechtigkeit für Serbien;

Sommerliche Nachtrag zu einer winterlichen Reise [The dreamer's farewell to the ninth

country; A journey to the rivers: Justice for Serbia;1 A summer addendum to a winter's

journey]. Frankfurt am Main: Suhrkamp.

1 A journey to the rivers: Justice for Serbia is the only translation into English of Handke´s

writings on Yugoslavia.

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225


Handke, P. (2000). Unter Tränen fragend. Nachträgliche Aufzeichnungen von zwei

Jugoslawien-Durchquerungen im Krieg, März und April 1999 [Asking through Tears:

Subsequent Notes from two Crossings through Yugoslavia during the War, March and

April 1999]. Frankfurt am Main: Suhrkamp.

Handke, P. (2013). Rund um das Große Tribunal [Around the Grand Tribunal].

Frankfurt am Main: Suhrkamp.

Handke, P. (2018). Die Tablas von Daimiel. Eine Umwegzeugenbericht zum Prozess

gegen Slobodan Milošević [The Tablas of Daimiel. An alternative witness report on the

trial of Slobodan Milošević]. Frankfurt am Main: Suhrkamp.

Handke, P. (2011). Die Geschichte des Dragoljub Milanović [The case of Dragoljub

Milanović]. Salzburg und Wien: Jung und Jung.

Von Oppen, K. (2013). Justice for Peter Handke. In: Tom Cheesman (ed.), German text

crimes: Writers accused, from the 1950s to the 2000s, pp. 175-92. New York, The

Netherlands: Brill. Retrieved from:

http://ebookcentral.proquest.com/lib/uu/detail.action?docID=1402864

Loquai, H. (2000). Der Kosovo-Konflikt – Wege in einen vermeidbaren Krieg. Die Zeit

von Ende November 1997 bis März 1999 [The Kosovo Conflict – Roads to an avoidable

war. The period from the end of November 1997 to March 1999]. Baden-Baden: Nomos

Verlagsgesellschaft.

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226

PRIKAZ

Kristina N. Topić*

Gradska biblioteka u Novom Sadu

JANUSOV KLJUČ

ZORAN PANEVSKI: SARA I JANUAR ZA DVE

DEVOJČICE

(BEOGRAD: LAGUNA, 2018)

Romanom Sara i januar za dve devojčice Zoran Panevski dobio je nagradu Plavi

čuperak za 2018. godinu koju dodjeljuju Zmajeve dečje igre. Nagrada je dodatno

potvrdila estetske vrijednosti ovog knjiţevnog djela namijenjenog ne samo djeci i

omladini, već i svim ljubiteljima knjiţevnosti. Ovaj roman moţe da se dovede u vezu sa

prethodnim romanom Panevskog – Sara i zaboravljeni trg – budući da je u pitanju ista

junakinja. No, romani mogu da se ĉitaju zasebno pošto predoĉavaju razliĉite ţivotne

dogaĊaje djevojĉice Sare i tako stvaraju drukĉije priĉe u ova dva romana.

Panevski vjerno predstavlja sliku djevojĉice koja ţivi u modernom svijetu. Svijet

je prikazan iz Sarine vizure, ali i iz vizure medijuma putem kojih djevojĉica i svi njeni

vršnjaci komuniciraju sa stvarnošću u savremenom trenutku. Tako je internet (društvene

mreţe prvenstveno) naĉin kojim oni pokušavaju da se pribliţe svijetu, ali i da pokaţu

kako ga vide:

Sara je okrenula glavu ka kompjuteru. Maca se slikala pokazujući novi

kaiš (144 lajka do sada, tri Biljina komentara kako je ,,vrh“), Miona je

stavila neku poruku o tome kako je vaţno biti dobar drug (14 lajkova), a

Vanja je okaĉila fotku na kojoj guska hrani malog psa (6 lajkova).

(Panevski, 2018, str. 51)

* [email protected]

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227

JANUSOV KLJUČ ZORAN PANEVSKI: SARA I JANUAR ZA DVE DEVOJČICE

Pisac ovim kratkim pasusom potvrĊuje da ,,lajkom“ odreĊena grupa ljudi determiniše

skalu vaţnosti, ali i vrijednosti informacija koje se plasiraju na nekoj internet-platformi.

Macine objave odobrene su od većeg broja ljudi, dok Vanjine ili Mionine objave, u

omjeru sa Macinim, dobijaju skoro neznatnu paţnju. Panevski ovim isjeĉkom prikazuje

samo ugrubo kako svijet, u grupi o kojoj piše, (a ţivot na ,,mreţama“ jeste njegov dio)

funkcioniše. Egzistiranje se odvija na polaritetima – crnoj ili bijeloj strani, dobroj ili

lošoj, popularnoj ili nepopularnoj. Kako će se krajnosti percepirati zavisi od grupe koja

odreĊuje šta je prioritet. Kada su tinejdţeri u pitanju oĉigledno je da su jedini vaţni

opoziti popularno/nepopularno.

Roman predstavlja tinejdţerske dileme koje su došle sa modernim

tehnologijama, a koje se i dalje tiĉu onog humanog u ljudima. Kako se izboriti sa svim

emocijama koje ţivot nameće? Jedno je sigurno, internet nije nuţno jedini vid pomoći,

jer ne moţe sve da se svrsta u dva polariteta koje ,,mreţe“ nude – u popularnu i

nepopularnu stranu. Sara je djevojĉica razvedenih roditelja i dok oni ,,jure“ karijere Sara

ţivi kod strica i strine. Ponekad se osjeća usamljeno, uplašeno, a roditelji bi moţda dali

najbolje odgovore da su prisutni. Djeĉak koji joj se dopada, Petar, pokušava da

izbalansira izmeĊu rasprava roditelja, ali i pretjeranih vannastavnih aktivnosti koje su

mu nametnute. Sarina prijateljica Vanja ne umije da objasni vršnjacima da ima brata

koji je u razvoju zaostao, pa ga radije krije nego što o njemu priĉa ili pokazuje na

društvenim mreţama. Ona se plaši reakcija drugih vršnjaka, ali i toga kako da im

objasni da bez obzira na sve njena ljubav prema bratu nije ništa manja. Dakle, sve je to

roj misli koje oni treba da obrade u svojim glavama, a zatim predstave spoljašnjem

svijetu. Misli se nagomilavaju jer ne izlaze van, pa stoga prerastaju u probleme.

No, autor ne prikazuje junakinju kao konvencionalnu djevojĉicu koja daje svoj

sud lajkom ili komentarom u digitalnom svijetu, premda ga ona prati i ima svijest o

tome kako on funkcioniše. Sara je pametna djevojĉica koja rješenja pokušava da naĊe i

na manje popularnim mjestima – papirnim stranicama. Ona razmišlja i osjeća da izmeĊu

emocija postoje nijanse koje ih ĉine baš onakvim kakve jesu, a koje ne mogu i ne treba

da se uklope u modele koje diktira virtuelni svijet. Ona vjeruje da za sva njena osjećanja

mora postojati naĉin kako da ih izrazi.

Zato Panevski, prema šablonu suprotnosti koje je postavio u romanu, da bi

pokazao da svijet ,,diše“ i izvan internet ţivota, unosi dijelove stripa. Strip Crno-beli vrt

je literatura kojom Sara pokušava da pronaĊe neke savjete o svijetu, o sebi, o drugima, a

zatim i da ih primijeni. To bi joj olakšalo situaciju u kojoj se nalazi. Ilustracije u stripu

su crno-bijele. Ţivotinje (pingvin, panda, zebra, dakle sve crno-bijele) glavnoj junakinji

daju razliĉite odgovore na pitanje Zašto je sve tako kako jeste? Odgovori su domišljati,

višeslojni i ne tako jednostavni, pa tjeraju Saru na razmišljanje.

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228 K R I S T I N A N . T O P I Ć

Sara ne traţi odgovore u nekakvim brzim, instant objavama na internetu

(fotografija, broj lajkova, komentari i sl). Vizuelno uvijek moraju da dopune, objasne

rijeĉi bliske njoj, tako da moţe da se poveţe i uvjeri u sve što joj ĉitava cjelina govori.

Sara, stoga, ĉita blog-objave djevojĉice Milene. Njeni tekstovi i prateće fotografije Sari

se dopadaju jer Milena piše o nekim svakodnevnim situacijama bez senzacija i

karikiranja emocija – priĉe o blizancima Bokiju i Vokiju, Gojaznom Gojku, nastavnici

Pani(ki)ćki i sl. Sve su to likovi koji zaokupljaju paţnju djevojĉice, pa zato i piše o

tome. No, Milena takoĊe ĉita strip Crno-beli vrt i odluĉuje da neke od misli koje strip

nudi primijeni u svom ţivotu jer ona ţeli da shvati ljude oko sebe, a ne da ih osudi i

svrsta u kategorije popularno/nepopularno. Svaku podvuĉenu reĉenicu iz stripa Milena

namjenjuje nekoj osobi. Reĉenice znaĉe vrstu pouke, savjeta. Sara prema Mileninom

modelu primjenjuje to isto, samo što ona bira i podvlaĉi reĉenice koje se njoj dopadaju.

Obe djevojĉice nailaze na otpor drugih, zato što su ,,savjetima“ pokušavale da

opravdaju samo sebe, da predstave samo svoje viĊenje svijeta i objasne svoje emocije,

ali ne i tuĊe.

Panevski, ovim postupkom, prvi put u romanu ruši svijet time što ne uspostavlja

ravnoteţu postojanjem bilo kakvog opozita. Djevojĉice nisu shvaćene i sve prelazi u

jednu crnu površinu, bez bijele koja bi trebalo svojom pojavom da uspostavi ravnoteţu.

No, djevojĉice su na novogodišnjoj ţurki, igrom sluĉaja, zamijenile svoje stripove. Sara

to saznaje preko Milenine objave. Da bi se crno-bijela ravnoteţa uspostavila djevojĉice

treba da razmišljaju, da same otkriju drugu stranu. Ona im se ne daje sama, već moraju

da stupe u akciju. Obe djevojĉice primjenjuju podvuĉene reĉenice iz tog drugog,

zamijenjenog stripa u odnosu sa drugim ljudima. I tek tada ravnoteţa biva uspostavljena

i bijela strana poĉinje da se pojavljuje. Ono što je djevojĉicama falilo jeste

razumijevanje drugih, a ne iznošenje nekakvih misli iz stripa sa kojima se samo one

mogu povezati. Upravo ta zamjena stripova i korišćenje tuĊih podvuĉenih reĉenica

znaĉe prihvatanje, odobravanje drugih i njihovih perspektiva umesto potrebe da se drugi

uklope u liĉne zamišljene šablone.

Panevski, dakle, objašnjava ovim postupkom ne Zašto je sve tako kako jeste već

kako to što jeste razumjeti. Djevojĉice to same zakljuĉuju jer se sve vrijeme pitaju, a

zatim i same stvaraju iskustva koja su u vezi sa razumijevanjem drugih.

Milena objašnjava to simboliĉno u svojoj objavi, povezujući ĉitavu situaciju

Crno-belog vrta sa znaĉenjem rimskog boga Janusa:

Janus simbolizuje otvaranje vrata, nov poĉetak, a po njemu je dobio ime

i mesec januar. Janus se predstavlja kao boţanstvo sa dva lica, koja

gledaju istovremeno u prošlost i budućnost. To znaĉi da u budućnost ne

treba da se ide ako se ne sagleda prošlost. Janus je bog svakog poĉetka –

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229

JANUSOV KLJUČ ZORAN PANEVSKI: SARA I JANUAR ZA DVE DEVOJČICE

prvog meseca u godini, prvog dana u mesecu, poĉetak svakog dana i

svake akcije. (...) Kako je i ovo sa Crno-belim vrtom sliĉno Janusu. Kao

da je sluĉajna zamena dovela do preispitivanja svega što me nerviralo i

pomogla mi da se promenim. Prošla sam kroz neka druga vrata. Bila bih

srećna kada bi onaj ko ima moj Crno-beli vrt zajedno sa njim dobio i

novi januar! (Panevski 2018: 144)

Panevski je ovim romanom pokazao koliko mogu biti sloţena osjećanja

tinejdţera. On nam govori da djeca nisu neznalice, već da duboko osjećaju svijet u

kome se nalaze i da ga razumiju tako što ga neprestano objašnjavaju sebi. Objašnjenje

novih pojava znaĉi odrastanje, razumijevanje sebe i drugih.


Datum ispravki: /


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230

IN MEMORIAM

Ţeljko Ivanković

IN MEMORIAM

PROF. DR HANIFA KAPIDŽIĆ-OSMANAGIĆ (30. XI

1935 – 21. X 2019), ČLANICA UREDNIŠTVA

ČASOPISA REČI1

Iako mi nikad nije bila profesorica, uvijek sam je oslovljavao s profesorice. Iako

me ĉesto molila da je ne persiram, cijeli sam je ţivot persirao i nisam mogao prestati, a

malo je profesora te generacije s kojima sam, poput nje, toliko suraĊivao, postao toliko

blizak te koji su mi, k tomu još, bili tako dragi.

I dok sam s ostalima jednostavno bio na „ti“, gotovo da i ne znam zašto to s

njom nisam mogao, osim valjda zbog ozbiljnosti koju sam vezivao uz nju, uz njezin

personality, a što sam kao barijeru, vjerojatno više vlastitu, s vremenom sporo uklanjao

da bih joj, primjerice, uopće mogao ispriĉati nove viceve iz „škole bosanskog humora“,

što je veoma voljela i traţila od mene u nekom opuštenijem, neposlovnom sjedenju, kad

bi se, uz svu njezinu sluţbenu ozbiljnost i neupitnu erudiciju, poĉela „otapati“, kad bi se

mogla vidjeti i njezina ljudska toplina, delikatnost i briţno njegovani šarm.

I premda se formalno znademo još od veljaĉe 1983. kad smo zajedno

promovirali drugo izdanje knjige Ljube Jandrića Sa Ivom Andrićem koju smo koji

mjesec ranije objavili u Veselin Masleši, bliskiji postajemo tek za sarajevskih ratnih

godina, a intenzivno suraĊujemo od 1997. kada dolazi na ĉelo PEN Centra BiH, a

1 Uredništvo zahvaljuje gospodinu Ţeljku Ivankoviću, uredniku ĉasopisa Novi Izraz (Sarajevo), na

ustupljenom tekstu sećanja.

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231 IN MEMORIAM

PROF . DR HANIFA KAPIDŽ IĆ -OSMANAGIĆ

napose od 1998. kad sam na nekom skupu PEN-a predloţio da obnovimo predratni

Izraz, jer su već u Sarajevu bili obnovljeni predratni ĉasopisi Ţivot i Lica.

Prijedlog je smjesta bio prihvaćen i mene su, oĉito kao neizbjeţnog predlagaĉa,

uz Dejana Đuriĉkovića, uvrstili u uredništvo, pa sam uz profesoricu Kapidţić-

Osmanagić i profesora Đuriĉkovića u toj ekipi, premda sam imao i knjige eseja i niz

objavljenih tekstova u predratnom Izrazu, bio jedini izvan onoga što se zove akademska

zajednica, o ĉemu sam već opširnije pisao u povodu smrti prof. dr. Dejana Đuriĉkovića.

Godinama smo radosno i priljeţno ureĊivali Novi Izraz, a onda je došla neka

ĉudna smjena svih nas, koja je nju posebno zaboljela, jer je to doţivjela odviše osobno...

No, kad sam se, nakon kratke pauze, 2014. vratio na mjesto urednika u Novom

Izrazu, ovaj put na mjesto glavnog urednika, poţurila mi je iskazati koliko je sretna i

zadovoljna zbog toga opetujući reĉenicu koja je bila i priznanje i obveza: „Drago mi je

da si ti to preuzeo, jer mi je to garancija da će Izraz ostati na Begićevom tragu.“ Da, bilo

joj silno vaţno da Izraz traje i to na naĉin na koji ga je ona vodila, a u profesoru je

Đuriĉkoviću i meni sve vrijeme imala podršku, suradnju, dakako zajedno s najvaţnijim

našim suradnicima tih godina... Jer, profesorica Hanifa nije bila samo glavna urednica

nego, kao i mi, i suradnica i lektorica i korektorica, ali i promotorica i distributerka

ĉasopisa, te poticateljica mladih autora i kolega s fakulteta kojima je ĉasopis nerijetko

bivao najvaţnijom referentnim mjestom za promicanje na akademskom putu.

A s Hanifom Kapidţić-Osmanagić sam se ĉesto sretao u predratnoj Svjetlosti

gdje je nekoć bio Izraz, s kojim sam ponosno suraĊivao, a ĉešće pak nakon što smo S.

Tontić, N. Ibrišimović i ja postali urednici Ţivota, koji je takoĊer izdavala Svjetlost.

Mi smo Ţivot ureĊivali od 1985. do 1989., a profesorica Hanifa je u uredništvo

Izraza ušla poĉetkom 1979., a od 1982. je do zakljuĉno s brojem 7-8 iz 1989. bila

odgovorna urednica ĉasopisa.

Dakle, cijelo desetljeće, pa je sa svim ovim godinama poslije rata u Novom

Izrazu postala urednica s najduljim staţom, te je ta njezina vezanost za Izraz / Novi

Izraz više nego razumljiva, uz, dakako, osobnu vezanost za prof. Midhata Begića.

Da, rado se prisjećam kako je profesorica Kapidţić-Osmanagić bila i ĉest gost u

Veselin Masleši gdje sam radio, gdje je bila i ĉlan redakcijskih odbora u našoj

izdavaĉkoj kući, ali i vaţna suradnica u nekim od biblioteka. Tu su, naime, samo da

podsjetim, pod njezinim uredništvom 1987. objavljena i Djela Midhata Begića u šest

svezaka.

Dakako, uz tiho prisjećanje na brojne ugledne profesore koji su ureĊivali Izraz,

bilo bi drsko da sam se po dolasku na mjesto glavnog urednika Novog Izraza, unatoĉ

laskavim rijeĉima profesorice Hanife, smatrao dostojnim nastavljaĉem tih tradicija, ali

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232 Ž E L J K O I V A N K O V I Ć

sam radeći tolike godine s njom i uz njezino povjerenje, znao da moţemo i moramo, u

okviru sve skuĉenijih sredstava, Novi Izraz odrţati onakvim kakav je bio kad smo ga

pod tim imenom nastavili izdavati, unatoĉ sve naglašenijim opstrukcijama, najĉešće

financijskim, pa mi je iznimno godilo njezino priznanje, ustvari povjerenje, kao

uostalom i svaki put tijekom naše dvodesetljetne bliske suradnje koju smo obostrano

briţno njegovali.

A u tih 20-ak godina suradnje praktiĉno smo odţivjeli jedan posve novi,

postratni ţivot, djelujući zajedno u PEN-u, u Krugu nezavisnih intelektualaca 99,

Novom Izrazu, Društvu pisaca, na vaţnim skupovima, tako da sam stekao njezino

povjerenje da mi je ĉak povjerila uredništvo svoje knjige Ogledi o Hélène Cixous

(Sarajevo, 2011.) u izdavaĉkoj kući Rabic gdje smo Goran Mikulić i ja u tzv. smeĊoj

biblioteci objavili sve same respektabilne autore, neovisne intelektualce, vrsne znalce

svojih profesija (politologije, sociologije, povijesti i teorije knjiţevnosti, historiografije,

teologije...).

Govorim o postratnom ţivotu, ali smo, neizbjeţno, u dobroj mjeri dijelili i dio

ratnih sarajevskih iskustava, kao i uvjerenja da samo kultura moţe kvalitetno osmisliti

prostor postratnih ruina, kako su to znali, govorio sam to iz svoje njemaĉke perspektive,

njemaĉki pisci tzv. ruina, a ona to potvrĊivala svojim francuskim znanjima, zajedno s

prof. Đuriĉkovićem koji je kao i ona bio snaţno odreĊen frankofonim znanjima i

iskustvima.

Njezine su ogromne zasluge da je Novi Izraz uopće opstao i pred sve snaţnijom

agresijom zdesna da se i taj segment bosanskohercegovaĉke kulture podijeli, a zajedno

smo u uredništvu Novog Izraza, s Ĉedom Kisićem kao duhovnim ocem mnogih

kulturoloških inicijativa, pa i ove, utemeljili Nagradu za studijski esej Midhat Begić koji

su dodjeljivali PEN Centar BiH i Novi Izraz. No, upravo su snaţni ultradesni pritisci i

uĉinili da se ta nagrada ne odrţi, jer oĉito ni ime Midhata Begića, ni sastav ţirija, ni prvi

dobitnici te nagrade nisu bili po volji onoj ĉaršiji koju su ljudi poput Midhata Begića ili

Radomira Konstantinovića najbolje i najpreciznije detektirali.

Dakako da svega toga ne bi bilo da profesorica Kapidţić-Osmanagić svojim

autoritetom nije već od starta Novom Izrazu priskrbila suradnju najuglednijih autora kao

što su Tvrtko Kulenović, Zdenko Lešić, Juraj Martinović, Zvonko Radeljkovića do onih

iz mlaĊih generacija kao što su Marina Katnić Bakaršić, Enver Kazaz ili Nedţad

Ibrahimović... To je uĉinilo da se Novi Izraz iznova poĉeo otvarati i suradnji izvan BiH,

posebno prema Zagrebu i Beogradu, prema regiji kako se to danas kaţe, koja je

oduvijek bila naklonjena ĉasopisu takva profila, pa ĉak iskazivala i ţivu potrebu za

njim.

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233 IN MEMORIAM

PROF . DR HANIFA KAPIDŽ IĆ -OSMANAGIĆ

Nesumnjivo je tomu pridonio i njezin znanstveni habitus, njezina knjiţevno-

teorijska utemeljnost, autoritet njezina djela snaţno obiljeţenog i frankofonim

utjecajima. A treba li podsjećati da se bavila strukturalizmom, poststrukturalizmom,

Derridom i dekontrukcijom, psihoanalitiĉkom kritikom, kao i, mnogo ranije,

nadrealizmom uopće, a napose srpskim nadrealizmom i srpskim autorima. Sve to ĉinilo

ju je begićevski trajno radoznalom i otvorenom za novo, što je, osobito nakon

posljednjeg rata (u Begićevu sluĉaju je to bilo s nasljeĊem Drugog svjetskog rata i

socrealizma, kad 1957. pokreće Izraz), sredini obiljeţenoj postratnim traumama,

viktimizacijom, ksenofobijom, kulturološkim autizmom, nacionalizmom nerijetko

itekako smetalo. A Profesorica je samo nastavila teorijski i komparativistiĉki

obogaćivati svoje već do rata respektabilno djelo, raditi na fakultetu i svojim studentima

predavati najsuvremenije knjiţevne teorije i tumaĉenja knjiţevnosti.

Ĉitala je, pisala i ureĊivala ĉasopis ĉak i u poodmaklim godinama koje su joj

oteţavale fiziĉko kretanje, ali je ustrajavala profesionalno i odgovorno u svim

segmentima oblikovanja ĉasopisa.

Ĉak i kad više nije bila u uredništvu i kad je već bila teško pokretna, a mislim da

joj je bio i zadnje javno profesionalno pojavljivanje u ţivotu, na ANUBiH smo zajedno

govorili na promociji Sabranih djela Veselka Koromana, uz sudjelovanje i samog

autora. Kao urednik tih djela zamolio sam je i pristala je govoriti zajedno sa mnom,

Slobodanom Blagojevićem i Milom Stojićem. Bio je to 21. oţujak 2017., a njezin je

tekst, moţda i njezin zadnjenapisani tekst, objavljen u Novom Izrazu (br. 69-70, januar-

juni 2018., str. 136-143). Ovo biljeţim i stoga jer sam je u jednom telefonskom

razgovoru nekoliko mjeseci poslije, molio za prikaz nove pjesniĉke knjige Feride

Duraković za koju mi je govorila da ju je proĉitala, da je veoma dobra i da će se

potruditi napisati prikaz... Iskreno, nisam stekao dojam da to moţe i da će to doista

uraditi, ali sam to doţivio, uostalom kao i neke prethodne naše telefonske razgovore

koji su bili, osim stvarno zanimanje za njezino zdravlje, i pokušaj unošenja malo

vedrine u njezinu svakodnevnicu, i zbiljsko nastojanje da se produţi njezina

„intelektualna svjeţina“, ako se već na drugo nije moglo utjecati.

Da, već me radovalo i da ĉita, da ĉita poeziju, još Feridinu, i da dobro, bistro

prosuĊuje...

Danas kad se manje-više gotovo posvuda mogu pronaći temeljite biobibliografije

svih relevatnih autora, nabrajanje bi njezinih djela u tekstu koji, poput ovoga, nastoji

biti krajnje osoban in memoriam jednoj od najuglednijih ĉlanica ANUBiH u njezinu

postojanju, bilo opterećenje, pa to preskaĉem. No ipak, ne mogu a da ne spomenem

neke njezine knjige, jer one govore i svu širinu, ali i svu specifiĉnost njezina autorskog,

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234 Ž E L J K O I V A N K O V I Ć

a onda i uredniĉkog i prireĊivaĉkog opusa. Stoga ću spominjanjem ponekih knjiga

izostaviti dataciju, jer se ovdje i u ovoj prigodi ne ĉini naroĉito vaţnom.

Uz njezinu knjigu Srpski nadrealizam i njegovi odnosi sa francuskim

nadrealizmom (Le surréalisme serbe et ses rapports avec le surréalisme francais), što je

bila njezina doktorska radnja, presudno vaţnima ĉine se dvije hrestomatije srpskog

nadrealizma. U prvoj su Poezija i tekstovi, a u drugoj Teorija i kritika. A onda ide

knjiga njezinih eseja Od nadrealizma do strukture, pa eseji o za nju vaţnim autorima

Begić – Ristić – Davičo – Krleţa..., a taj će njezin kritiĉarski profil dodatno potvrditi

prireĊivanja knjiga Marka Ristića i Vaska Pope, kao i njezina peta knjiga Suočenja u

kojoj se bavi teorijskim tumaĉenjima knjiţevnosti i francuskim autorima Lévi-

Strausom, Barthesom, Foucaultom, Derridom, Kristevom, Lacan, Deleuzeom,

Guattarijem, a što će vrhuniti u već spomenutoj knjizi Ogledi o Hélène Cixous.

Za svoj je knjiţevnoteorijski rad profesorica Kapidţić-Osmanagić nagraĊivana

prestiţnim nagradama i prije rata i poslije rata, meĊu kojima i meĊunarodnim (Fund for

Free Expression Award USA, 1993. i Chevalier des palmes académiques, 2007.), a

2005. stjeĉe najvaţnije priznanje u svom ţivotu, postaje redoviti ĉlan ANUBiH.

Ostvarila je i respektabilnu sveuĉilišnu karijeru tijekom koje je obnašala niz

vaţnih funkcija: bila je šefica Katedre za francusku knjiţevnost, predsjednica Vijeća

Odsjeka za romanistiku, dekanesa Filozofskog fakulteta, te prorektorica Univerziteta u

Sarajevu.

Reklo bi se, uz impresivno djelo i impresivna karijera, iza nekoga tko je, u svojoj

profesionalnoj skromnosti, više nego i o kome drugome govorio o svome uvaţenom

profesoru, smijem li reći (?), i duhovnom ocu – Midhatu Begiću, i kojoj je najveće

osobno i profesionalno zadovoljstvo bilo ostati na tom tragu, i vlastitim ţivotom i

vlastitim djelom.

Da, ne zaboravljam, premda je moţda nepravedno ovo staviti na kraj, da je

rijetko, baš rijetko spominjala vlastitoga fiziĉkog, iznimno uglednog oca, premda je

uvijek bila, smjerno svjedoĉim, ponosna kći uvaţenog historiĉara, profesora i

akademika dr. Hamdije Kapidţića. MeĊutim, i ova mi je ĉinjenica potvrĊivala njezinu

samozatajnost koju nikad neću prestati poštovati kao dio njezine ljudske veliĉine.

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235

UPUTSTVO AUTORIMA ZA PRIPREMU RUKOPISA

Ĉasopis Reči nalazi se u kategoriji istaknutih nacionalnih ĉasopisa Ministarstva

prosvete, nauke i tehnološkog razvoja Republike Srbije (M52). Uputstvo za pripremu

rukopisa sastavljeno je prema Aktu o ureĊivanju nauĉnih ĉasopisa MNTR (ev. broj:

110-00-17/2009-01, Beograd, 09.07.2009).

Dostavljeni nauĉni radovi, nakon uredniĉke procene, ulaze u proces

recenziranja kompetentnih struĉnjaka. Recenzentima nije poznat identitet autora, niti

autori dobijaju podatke o recenzentima. Na osnovu recenzija redakcija donosi odluku o

objavljivanju, korekciji ili odbijanju rada. Autori ĉiji su radovi odbijeni i autori kojima

se radovi vraćaju na korekciju dobijaju na uvid recenzije.

Ĉasopis Reči publikuje samo ranije neobjavljene nauĉne i struĉne radove iz

jezika, knjiţevnosti i kulture. Ukoliko ĉlanak predstavlja ranije dopunjen ili izmenjen

rad, autori su duţni da dostave kopiju prvog rada.

Izuzetno se štampaju kritiĉka izdanja istorijske, arhivske, leksikografske,

bibliografske graĊe i sl, kao i nenauĉna graĊa koja moţe biti od koristi istraţivaĉima.

Ĉasopis Reči izlazi jedanput godišnje, rukopisi se dostavljaju elektronskom

poštom tokom cele godine na adresu uredništva [email protected]. Zajedno sa slanjem

radova, autori su duţni da potpišu Izjavu autora. To je priloţen dokument na sajtu

ĉasopisa Reči ĉijim potpisivanjem autori potvrĊuju da je njihov tekst originalan

proizvod vlastitog rada i da je tekst pripremljen prema zadatim uputstvima ĉasopisa. U

suprotnom, redakcija neće prihvatiti rad za objavljivanje, kao ni u sluĉaju da je autor/ka

odbio/la da prihvati komentare i primeni sugestije recenzenata.

OSNOVNE INFORMACIJE O PISMU I OBIMU RADA

Pismo rukopisa na srpskom jeziku je latinica (Serbian, Latin). Radovi mogu

biti objavljeni na engleskom, ili nekom drugom stranom jeziku. Tekstovi na srpskom

jeziku treba da su prilagoĊeni Pravopisu iz 2010. i Normativnoj gramatici iz 2013.

godine. Tekstovi na stranim jezicima treba da slede jeziĉke norme tih jezika.

Duţina i font rukopisa ĉlanaka je do 30.000 slovnih mesta (sa belinama), ne

raĉunajući fusnote. Font je Times New Roman 12. Fusnote se unose veliĉinom slova

Times New Roman 10 i ne sluţe za citiranje, već za dodatna objašnjenja. Prored teksta je

1,5. Naglašavanja u tekstu prenose se kurzivom.


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236 У П У Т С Т В О А У Т О Р И М А З А П Р И П Р Е М У Р У К О П И С А

STRUKTURA ĈLANKA

Podaci o autoru ili autorki stavljaju se na poĉetku rada, pišu se fontom koji se

koristi za glavni tekst rada, Times New Roman 12. Obuhvataju ime, srednje slovo i

prezime autora, i afilijaciju. Afilijacija podrazumeva ustanovu u kojoj je autor zaposlen,

ispisuje se neposredno nakon imena autora, a funkcija i zvanje autora se ne navode. U

sluĉajevima sloţenije organizacije, navodi se ukupna hijerarhija. Na primer: Univerzitet

u Beogradu, Filozofski fakultet, Odeljenje za istoriju, Beograd.

Nakon prezimena, u fusnoti se navodi elektronska adresa autora. U sluĉaju

koautorstva, navodi se elektronska adresa prvog autora. Ne navode se funkcija i zvanje

autora. Ukoliko je rad nastao u okviru odreĊenog projekta, potrebno je, odmah nakon

naslova rada, u fusnoti, navesti podatke o broju projekta, njegovom rukovodiocu i

instituciji koja finansira projekat. Izrazi zahvalnosti i komentari daju se takoĊe u ovom

delu rada.

Naslov rada treba da što preciznije upućuje na sadrţaj ĉlanka i da olakšava

indeksiranje i pretraţivanje teme. Naslov se piše dva reda ispod afilijacije, centrirano,

velikim slovima.

Apstrakt (saţetak, anotacija) mora da sadrţi uvodna razmatranja o istraţivanju,

ranija zapaţanja o problemu, primenjene metode, jasne i koncizne rezultate i mišljenje o

uticajima i implikacijama otkrića. U apstraktu se nalaze samo najvaţniji detalji koji su

potrebni za razumevanje znaĉaja ĉlanka. Obim apstrakta je od 150 do 200 reĉi, piše se

na jeziku rada, srpskom i engleskom jeziku. Redakcija obezbeĊuje prevoĊenje

apstrakata stranih autora na srpski jezik.

Kljuĉne reĉi ne treba da sadrţe reĉi iz naslova rada već suštinske reĉi koje su

izvuĉene iz sadrţaja rada. Treba napisati do 10 kljuĉnih reĉi. One se na poĉetku rada

navode uz apstrakt.

Na kraju ĉlanka dolazi Literatura (prilikom navoĊenja koristi se APA

/American Psychological Association/ stil). Praćena je Naslovom rada, Rezimeom i

Kljuĉnim reĉima na stranom jeziku ukoliko je rad pisan na srpskom; u sluĉaju rada na

stranom jeziku, ova tri segmenta daju se na srpskom. Rezime treba da sadrţi

kondenzovano saopštene kljuĉne ideje rada. Za razliku od apstrakta, u rezimeu se autori

koncentrišu na rezultate, otkrića i zakljuĉke. Rezime bi trebalo da bude opširniji od

apstrakta (sadrţi do 250 reĉi).

Na kraju teksta, u donjem desnom uglu, redakcija hronološkim redom navodi

datume prijema, odobrenja i eventualnih ispravki rada.

Rad moţe da sadrţi podnaslove. Oni su uvuĉeni u pasus i nisu pisani velikim

slovima, već podebljani.

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Tekstovi ĉlanaka imaju pasuse. Paragrafi ne mogu biti sastavljeni od jedne

reĉenice.

Numeraciju stranica, paragrafa ili podnaslova nije potrebno vršiti.

Dodatni propratni materijali (fotografije, dokumenta, transkripti, tabele,

grafikoni, crteţi, sheme) poţeljni su prilozi i objavljuju se uz prethodno dostavljene

dozvole nadleţnih institucija. Ovi materijali dostavljaju se u posebnom fajlu, a u

osnovnom tekstu posebnom zagradom obeleţava se mesto gde dolaze i ne unose se u

tekst. Na primer: [slika br.1] [tabela br. 3]. Crno-bele reprodukcije se šalju kao TIFF (u

rezoluciji 300 dpi) ili EPS (800 dpi). Tabele se precizno obeleţavaju, prenose bez

senĉenja i boja, uvek imaju naslov na jeziku rada i jeziku rezimea.

NAĈIN CITIRANjA

Prilikom navoĊenja koristi se APA (American Psychological Association) stil.

Citate treba stavaljati pod navodnike. Na srpskom jeziku citati se prenose

prema Pravopisu srpskog jezika („“), na engleskom jeziku prema jeziĉkoj normi tog

jezika (“ ”). Jedino se stihovi daju u kurzivu. Ako prelazi 40 reĉi, citat se izdvaja u

poseban pasus, bez navodnika. Ukoliko se u glavnom tekstu citira autor stranog porekla,

najpre se navodi prevod ili transkripcija imena autora, a potom se u uglastoj zagradi [ ]

piše njegovo ili njeno originalno ime i prezime, na primer Dţonatan Kaler [Jonathan

Culler]. Isti postupak primenjuje se i za pisanje stranih pojmova i izraza. Ako se citiraju

reĉenice na stranom jeziku, u glavnom tekstu se daje prevod, a u fusnoti original, uvek

sa navodom izvora.

Citiranje se vrši unutar teksta u formatu bibliografske parenteze koja sadrţi

prezime autora, godinu objavljivanja rada i broj stranice sa koje je citat preuzet, na

primer (Culler, 1997, str. 32). Ako je reĉ o studiji više autora, navode se prezimena prva

dva autora odvojena zarezom, na primer (Samardţija, Juhas i dr. 2011, str. 34).

LISTA REFERENCI

Posebno se navode izvori i literatura.

Knjige i monografije:

jednog autora

Culler, J. (2007). The literary in theory. Stanford: Stanford University Press.

više autora

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Ward, G. C., & Burns K. (2007). The war: An intimate history, 1941–1945. New

York: Knopf.

knjiga objavljena u elektronskoj formi

Eckes, T. (2000). The developmental social psychology of gender. Dostupno

preko: http://www.netlibrary.com

Poglavlje u monografiji ili zborniku radova

Manĉić, A. (2010). Pisanja i ĉitanja prevoda kao ţanra u srpskim knjiţevnim i

nauĉnim ĉasopisima (povodom prvih srpskih prevoda Servantesa, Ariosta i

Šekspira. U: V. Matović (ur.), Ţanrovi u srpskoj periodici (str. 499−515).

Beograd: Institut za knjiţevnost i umetnost.

Ĉlanak u ĉasopisu ili dnevnim novinama

Referenca treba da sadrţi prezime i ime autora, godinu izdanja, naslov ĉlanka,

naziv ĉasopisa (kurzivom), volumen, broj stranice.

Haraway, D. (1988). Situated knowledges: The science question in feminism and

the privilege of partial perspective. Feminist Studies, 14 (3), 575–599.

Stolić, A. (2001). Društveni identitet uĉiteljice u Srbiji 19. veka. Godišnjak za

društvenu istoriju, 3, 205–232.

Vulićević, M. (26. oktobar 2011). O vampirima s empatijom. Politika, str. 14.

Zbornici radova sa nauĉnih skupova ili konferencija

Singh, K., & Best, G. (2004). Film-induced tourism: Motivations of visitors to the

Hobbiton movie set as featured in The Lord of the Rings. In W. Frost, G. Croy &

S. Beeton (Eds), Proceedings of the 1st International Tourism and Media

Conference (pp. 98–111). Melbourne: Tourism Research Unit, Monash University.

Neobjavljene doktorske disertacije, magistarske teze ili master radovi

Balan, J. (2004). Diskurs ţenskog lika u srpskom realističkom romanu

(Neobjavljena doktorska disertacija). Filološki fakultet, Univerzizitet u Beogradu,

Beograd.

Dokument sa interneta:

Referenca treba da sadrţi prezime i ime autora, datum objavljivanja, naslov

dokumenta, datum kada je sajt posećen, internet adresu.

Wood, J. (2014, May 19). The World As We Know It. The New Yorker. Dostupno

preko:

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http://www.newyorker.com/arts/critics/books/2014/05/19/140519crbo_books_woo

d [30.06.2014]

Rukopisna graĊa

Nikolić, Jovan. Pesmarica. Temišvar: Arhiv SANU u Beogradu, sign. 8552/264/5,

1780−1783.

* * *

Autori su duţni da dostave lektorisane tekstove.

Rukopisi se ne vraćaju.

Primerak ĉasopisa moţe se nabaviti u biblioteci Fakulteta za strane jezike Alfa BK

univerziteta.

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240

INSTRUCTIONS FOR PAPER SUBMISSION

Reči: a Journal of Language, Literature and Culture is categorised as an

interdisciplinary scientific journal of exceptional national importance by the Serbian

Ministry of Education, Science and Technological Development (M52). Instructions for

the preparation of manuscripts conform to the Act on Scientific Journal Editing, No

110-00-17/2009-01, Belgrade, 9 July 2009.

All submitted papers are reviewed by qualified scholars after the editor‟s

assessment. The authors‟ identities are not disclosed to the reviewers, nor do the authors

receive information about the reviewers. Upon receiving the reviews, the Editorial

Board decides on the publication, correction or rejection of the papers. The authors

whose papers have been rejected or returned to be corrected are sent the reviews.

Only the articles that have not been previously published can be accepted for

publication. If the article is a previously amended or modified work, the author is

required to submit a copy of the earlier version.

The јournal Reči can exceptionally publish critical editions of scientific,

historical, archival, lexicographic or bibliographic materials as well as non-scientific

texts that may be of use to researchers.

The Journal is published annually; papers are submitted electronically

throughout the year at [email protected]. Authors are requested to sign the Statement of

Authorship, a document available on the Reči Journal website. By signing this

document, the author confirms that the submitted text is an original product of their own

work, and that the text is prepared conforming to the guidelines set by the Journal.

Those manuscripts that do not meet the above requirements will not be accepted for

publication. If an author has refused to accept the reviewers' comments and

suggestions, their paper will not be taken into consideration.

BASIC INFORMATION ON THE MANUSCRIPT LENGTH AND STYLE REQUIREMENTS

If a paper is in Serbian, it should be written in Latin alphabet. Texts in Serbian

should be prepared according to the official Orthography of 2010 and the Normative

Grammar of 2013. Papers can be published in English or other foreign languages

complying with the norms of those languages.

Manuscript length should not exceed 30,000 characters (with blanks) not

counting the footnotes. The font is Times New Roman, size 12, line spacing 1.5; for


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241 INSTRUCT IONS FOR PAPER SUBMISS ION

footnotes Times New Roman size 10 should be used. Footnotes should be used for

further clarification and not for references. Italics should be used to emphasize words or

phrases.

ARTICLE STRUCTURE

Information on the author should be provided at the beginning of the paper,

formatted in the same way as the main text (Times New Roman 12). It should include

the author‟s first name, middle initial(s), last name and affiliation. Affiliation means the

institution in which the author is employed, it should be printed immediately after the

author‟s name, and the function and position of the author should not be mentioned. In

the case of a more complex organization, the entire hierarchy should be provided. For

example: University of Belgrade, Faculty of Philosophy, History Department, Belgrade.

A footnote with the author‟s e-mail address should be included after the autor‟s

last name. In the case of collaboration, the e-mail address of the first author is given.

The authors‟ positions and titles should not be included. If the paper is written as part of

a project, a footnote with the information on the project number, its leader and the

institution financing the project should be provided after the title of the paper.

Acknowledgments and comments may also be given in this part of the paper.

The title of the paper should be precise and informative in order to facilitate

search and indexing. The title should be written two lines below the affiliation, centered,

in capital letters.

The abstract should contain introductory information on the research, a brief

explanation of the problem addressed, the methods used, clear and concise results, and

an opinion on the effect and implications of the discovery. The abstract should contain

only the most important details necessary for understanding the relevance of the article.

The abstract should be written in the language of the paper, Serbian and English and

contain 150 to 200 words. The Journal will provide Serbian translation for the abstracts

of foreign authors.

Keywords are given after the abstract. They should not contain words used in

the title, but essential words drawn from the paper‟s content. There should be up to 10

keywords.

After the main text, a Reference List should be provided (use APA (American

Psychological Association) citation style). The Reference List is followed by the Title

of the paper, Summary, and Keywords in a foreign language if the paper is written in

Serbian; if the paper is written in a foreign language, these three segments should be in

Serbian. The summary should contain concisely formulated key ideas of the paper. In

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INSTRUCT IONS FOR PAPER SUBMISS ION 242

contrast to the abstract, it should concentrate on the results, findings and conclusions.

The summary should be longer than theh abstract, containing up to 250 words.

At the end of the text, in the lower right corner, the Editorial Office will

provide the dates of submission, approval and resubmission (if applicable) of the paper

in a chronological order.

The paper may contain subtitles. They should be indented and should not be

written in capital, but bold letters.

The article should be organized into paragraphs. Paragraphs must contain

more than one sentence.

Numbering of pages, paragraphs and subtitles is not necessary.

Additional materials (figures, tables, charts, graphs, photographs, documents,

transcripts) are welcome and will be published with the permission of the copyright

owner. These materials should be submitted in a separate file, and their place in the

main text should be marked by square brackets. The materials should not be inserted in

the text. For example: [Figure 1] [Table 3]. Black and white reproductions should be

submitted as TIFF (300 d.p.i. resolution) or EPS (800 d.p.i.) files. Tables should be

simple, without shading or color, and should always have captions in the language of

the paper and the language of the summary.

REFERENCE STYLE

APA citation style is used.

Quotations should be put in quotation marks. In Serbian, quotes are written

according to the Orthography of the Serbian language („“); in English, they are written

according to the norm of the English language (“ ”). Only verses are italicized.

Quotations exceeding 40 words should be set in a separate paragraph, without quotation

marks. When quoting a foreign author in the main body of the text, translation or

transcription of the author‟s name is first given, and then the author‟s original name in

square brackets [ ], e.g. Dţonatan Kaler [Jonathan Culler]. The same principle applies to

foreign terms and expressions. If sentences in a foreign language are quoted, translation

is given in the main text, and original text in the footnote, always citing the source.

In-text references are given in parentheses containing the author's surname,

year of publication, a colon and the page number, e.g. (Culler, 1997, p. 32). In the case

of multiple authors, the surnames of the first two authors are given separated by

commas, e.g. (Samardţija, Juhasz et al., 2011, p. 34).

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243 INSTRUCT IONS FOR PAPER SUBMISS ION

REFERENCE LIST

The reference list should be separated into sources and references.

How to cite:

Books and monographs:

single author

Culler, J. (2007). The Literary in Theory. Stanford: Stanford University Press.

multiple authors

Ward, G. C., & Burns, K. (2007). The War: An Intimate History, 1941–1945. New

York: Knopf.

electronic books

Eckes, T. (2000). The developmental social psychology of gender. Retrieved from:

http://www.netlibrary.com

Chapter in a book

Hemingway, E. (1999). The killers. In J. Updike & K. Kenison (Eds.), The best

American short stories of the century (78–80). Boston, MA: Houghton Mifflin.

Јournal or newspaper аrticle

The reference must contain the author‟s name, the year of publication, title of the

article, name of the journal (italicized), volume number, and page number.

Haraway, D. (1988). Situated Knowledges: The Science Question in Feminism and

the Privilege of Partial Perspective. Feminist Studies, 14 (3), 575–599.

Stolić, A. (2001). Društveni identitet uĉiteljice u Srbiji 19. veka. Godišnjak za

društvenu istoriju, Beograd, 3: 205–232.

Bowman, L. (1990, March 7). Bills target Lake Erie mussels. The Pittsburgh

Press, p. A4.

Conference proceedings

Singh, K., & Best, G. (2004). Film induced tourism: motivations of visitors to the

Hobbiton movie set as featured in The Lord of the Rings. In Proceedings of the 1st

International Tourism and Media Conference, Melbourne (98–111). Melbourne:

Tourism Research Unit. Monash University.

Unpublished doctoral dissertationor master's thesis

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INSTRUCT IONS FOR PAPER SUBMISS ION 244

Kassover, A. (1987). Treatment of abusive males: Voluntary vs. court-mandated

referrals (Unpublished doctoral dissertation). Nova University, Fort

Lauderdale, FL.

Electronic sources

The reference should contain the name of the author, the date of publication, title

of the document, the date when the site was accessed and the URL.

Wood, J. (2014, May 19). The World As We Know It. The New Yorker. Retrieved

from:

http://www.newyorker.com/arts/critics/books/2014/05/19/140519crbo_books_woo

d [30.06.2014]

Аrchival sources

Tarkington, B. (1924, May 8). [Letter to George Ade]. George Ade Papers, 1878-

2007, The Virginia Kelly Karnes Archives and Special Collections Research

Center (Box 10, Folder 5), Purdue University Libraries, West Lafayette, IN.

* * *

Authors are required to submit proofread texts.

Manuscripts are not returnable.

The Journal is available in the library of the Faculty of Foreign Languages, Alfa BK

University.

CIP - Каталогизација у публикацији

Народна библиотека Србије, Београд

81+82

REĈI : ĉasopis za jezik, knjiţevnost i kulturu = Journal of Language,

Literature and Culture / glavni i odgovorni urednik Artea Panajotović. - God. 1,

br. 1 (2009)- . - Beograd : Alfa BK Univerzitet, Fakultet za strane jezike,

2009- (Beograd : “Apollo Graphic Production”). - 24 cm

Godišnje. - Tekst na srp. engl. i ita. jeziku. -

Drugo izdanje na drugom medijumu: Reĉi (Beograd. Online) = ISSN 2683-

4898

ISSN 1821-0686 = Речи (Београд)


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